|Celebrate the 100-year anniversary of the founding of the Bauhaus in Dessau, Germany.
The famous art school influenced a broad range of disciplines including art, architecture, graphic design, interior design, industrial design, and typography. Events will explore the idea of Bauhaus as an institutional form as it traveled from Germany to institutions in the United States and around the globe, focusing on what today’s university can learn from the Bauhaus’ legacy of interdisciplinary education, embodied learning, and institutional collaboration. All events are free and open to the public.
The Department of English MUSE Scholars Program presents a lecture by Dr. Omaris Z. Zamora, “Delectable Complicities From El Ni’ E: AfroLatinx Feminisms of Cardi B & La Bella Chanel.” Dr. Zamora is assistant professor of Afro-Latinx Studies at Rutgers University. Her book project, AfroLatina (Trance)formations: Poetics of Black Embodied Archives and Feminist Epistemologies, engages the theoretical formation of AfroLatina feminist epistemologies through an analysis of transnational Dominican women’s narratives in literature and performance. As a spoken-word poet she fuses her poetry with her scholarly work as a way of contributing to a black poetic approach to literature and cultural studies.
Please join us Thursday, October 17th at 4:30pm in Wells Hall room B243.
10/17 Week-end (dir. Jean-Luc Godard, 1967)
Presented by Kyle Sittig
A supposedly idyllic weekend trip to the countryside turns into a never-ending nightmare of traffic jams, revolution, cannibalism and murder as French bourgeois society starts to collapse under the weight of its own consumer preoccupations.
Amy Kroesche received her MA in TESOL from Michigan State University. She has more than twenty years of teaching experience both internationally and in several places around the U.S. In this workshop, she will talk about job applications and share some tips for interviewing. Former MA TESOL students will also talk about different jobs in the field and their application process. CVs and resumes will be peer-reviewed, so don’t forget to bring your own!
In 1926, Bauhaus master László Moholy-Nagy proclaimed, “give me or the Bauhaus an experimental film laboratory, then we can begin our work.” He sought to put into practice in Dessau the visionary ideals of his own groundbreaking multi-media treatise, Painting, Photography, Film, published the previous year in the school’s Bauhausbücher (Bauhaus books) series. While Moholy’s plan for a film school at the Bauhaus failed to materialize in Germany, the school’s faculty and students experimented widely in film and moving images, ranging from abstract student films and “coloured light plays” to various workshop-based encounters with the materiality of film, evident in “celluloid collages” and the widespread use of the form of the filmstrip in posters, “typophoto” scripts, exhibition design, and architectural publications. The Bauhaus also hosted a range of film screenings and lectures in the 1920s featuring the European avant-garde, as well as scientific, instructional, and animated films. If there was no formal “laboratory” for filmmaking at the Bauhaus, film, and an expansive idea of the cinematic, were omnipresent at the school.
This program gestures to this range of Bauhaus enthusiasm about film by recreating a program of “Absolute Film” first screened at the sold-out, 900-seat Ufa Palast in Berlin in 1925 and later repeated at the Bauhaus the following year. Featuring major works of the European avant-garde that intersected with Bauhaus aesthetic strategies and utopian aspirations, our selections expand on the Absolute Film program to also include a few examples of Moholy’s own filmmaking and film theory, from his early experiments in Germany to a few of the films produced during his rebooting of the Bauhaus in Chicago, beginning in 1937. There and through World War II, Moholy finally realized his ambitions for an “institute of light.”
Rhythmus 21 (Hans Richter, Germany, 1921, 3m)
Symphonie Diagonale (Viking Eggeling, France, 1924, 9m)
Ballet mécanique (Fernand Léger and Dudley Murphy, France, 1923–24, 14m)
Lichtspiel Opus 2, 3, & 4 (Walter Ruttmann, Germany, 1921, 1924, 1925, 10m)
Der Sieger (Walter Ruttman, Germany, 1922, 3 min)
Entr’Acte (René Clair and Francis Picabia, France, 22m)
Lightplay: Black, White, Grey (Moholy-Nagy, Germany, 1926–1930, 6m)
Design Workshops, (selections) (Moholy-Nagy, USA, 1940-1944, 10m)
In collaboration with 100 Years of Bauhaus: http://linglang.msu.edu/degree-programs/german/bauhaus
10/24 Three Colors: Blue (dir. Krzysztof Kieślowski, 1993)
Presented by Lily Woodruff
Julie is haunted by her grief after living through a tragic auto wreck that claimed the life of her composer husband and young daughter. Her initial reaction is to withdraw from her relationships, lock herself in her apartment and suppress her pain. But avoiding human interactions on the bustling streets of Paris proves impossible, and she eventually meets up with Olivier, an old friend who harbors a secret love for her, and who could draw her back to reality.
Please mark your calendars for the campus visit of Big10 Emerging Scholar Valerie O’Brien, visiting from the University of Illinois on November 7 and 8.
The Big 10 Emerging Scholars Program—now in its second year—seeks to provide a platform for the work of emerging graduate student scholars in Big10 Departments of English. Each year, we host a scholar from one of our peer institutions, and one MSU graduate student is selected as a visiting scholar in turn.
Valerie has research interests in disability studies and animal studies. She will be participating in the HIVES Research Workshop on Nov 7th, from 4-6pm in Wells C607. On Friday, November 8th, from 3-5pm, Valerie will give a talk to the Department in Wells B342. Please attend and support our efforts to mentor graduate students.
This talk examines J.M. Coetzee’s Foe, a retelling of Robinson Crusoe that I contend illuminates the linkages between autobiographical narration and Enlightenment conceptions of personhood. In Coetzee’s reimagining, the character Friday, Cruso(e)’s slave, is a disruptive, enigmatic figure, for although Defoe’s Friday masters English, Coetzee’s cannot speak at all because his tongue has been cut out; consequently, Friday’s untold life story—a “hole in the narrative”—becomes the central mystery on which the narrator and the novel itself become fixated. I investigate this preoccupation with Friday’s mutism in relation to the role of language—and autobiographical narration in particular—in historical distinctions of person from animal, distinctions particularly fraught for slaves and disabled subjects. My talk calls attention to what is troubling about historical uses of autobiography as a litmus test for social belonging, examining how slave narratives functioned as tests for personhood and how the practice of telling one’s life narrative may exclude disabled individuals. Reading the novel as part of a larger body of contemporary fiction that explores the limitations and possibilities of autobiographical narratives to convey experiences of disability and debility, I argue that Foe unsettles conceptions of personhood bound to a capacity for normative autobiographical narration.