IHGC Events November 2012
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University wide events
Friday, November 16
Guest Lecture: Martha Nussbaum
Lecture on Religious Intolerance: 1 pm
The IHGC welcomes Martha Nussbaum, Ernst Freund Distinguished Service Professor of Law and Ethics at the University of Chicago, as this semester’s Global Humanities guest lecturer. In preparation for Prof. Nussbaum’s visit, the IHGC will host a seminar on November 6th at 7pm to familiarize or re-familiarize oneself with her work. The seminar will be led by Tal Brewer, Associate Professor of Philosophy at U.Va. For more information about this seminar, contact Keicy Tolbert.Sponsoring Org: IHGC
Monday, November 26
Voice and Virtuality: Teaching With and Without the Body
7 - 9 pm
This panel discussion will bring together Andrew Wade (head of the voice department at the Royal Shakespeare Company from 1987-2003), Louis Bloomfield of the Department of Physics, Kate Burke of the Drama Department, and Clare Kinney of the English Department.
Thursday, November 29
Walter Benjamin's Modernity, with Manfred Schneider in presentation and conversation
7 - 9 pm
Walter Benjamin wrote his Essay Experience and Poverty in the spring of 1933. Facing the end of the Weimar Republic and the very beginning of German fascism, he looked back to the other breakdown of political and cultural order caused twenty years ago by the First World War. Just at this moment he designs a new idea of modernity. Defining modernity in art, architecture, literature as a new start, as a radical beginning, he names the modern artist a new positive barbarian. Once the barbarians put an end to the Roman Empire, now the new barbarians destroy all forms of tradition. These artists like Adolf Loos, Le Corbusier, Bertolt Brecht, and Paul Scheerbart are called the “inexorable ones”, since they all have been performing acts of tabula rasa. With keywords like the “barbarian” and the “inexorable”, Benjamin not only describes the appearance of the most radical artists; he also employs two often cited crucial words of fascist rhetoric. He thus insinuates that the Nazi movement came out of the most radical tendencies of modernity. But what is it that characterizes this text unequivocally as an antifascist document? I would like to argue that it is by its very literary character and by some extravagant linguistic expressions, which Roman grammarians would have called “barbarisms”, that the text assumes its antifascist quality. Besides this, there are so many topics and ideas in this text that it offers a brilliant basis for a vivid discussion of modernity from different viewpoints.