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Here's the lineup for this semester's seminar series in the English Department, University of Sydney. Please note new time: Friday 3-5, and same venue: Rogers Room. Drinks will be integrated and will follow as well.

March 9 Jeri Johnson (Oxford)
In Conversation: Editing Joyce, Woolf, Freud

March 16 Richard Smith (Sydney)
Body, Brain Thought: the Hijack as Modernist Action Film

March 23 Marise Williams (UWS)
The Plight of the Fashion Plate in Wharton’s House of Mirth

March 30 Stefan Mattessich (Sydney)
De Lillo’s Thing

No seminar 6 and 13 April (Easter)

April 20 Carolyn Burke (Santa Cruz)
Richard Avedon and Jacques-Henri Lartigue

April 27 Alex Jones (Sydney)
Peirce Plowman: reflections on discourse and narrative in a medieval text

May 4 Robert Dixon (Sydney)
Austlit@USyd: A discussion paper on building a shared research culture in the era of the RQF

May 11 Kirsten Tranter (Rutgers)
The Fate of Metaphor: Translating History in Marvell’s ‘Upon Appleton House’

May 18 Simon Petch (Sydney)
Freud on the Frontier: Delmer Daves' 3.10 to Yuma (1957)

May 25 Laleen Jayamanne (Sydney)
Three Female Clowns’ Performance of Divestiture of the Ego: Giulietta Masina, Frances McDormand, Nicole Kidman

June 1 Caroline Hamilton (Sydney)
Dave Eggers and McSweeney’s

June 8 Melissa Jane Hardie (Sydney)
Dreaming in Cold Blood: Prompt Language, True Crime

After Lévi-Strauss:
Considering Structuralism’s Legacy
for Art and Cinema

Friday, 27 October 2006, 10:30am – 4:00pm
Mills Lecture Theatre, Room 209, R.C. Mills Building, Fisher Road,
The University of Sydney

Entry: Free, but booking essential by 13 October

This 1-day forum considers the engagement of art theory, criticism and film theory with Claude Lévi-Strauss’s structuralism since the 1960s. Speakers discuss responses to Lévi-Strauss’s project within a history of critical thought, the contemporary utility of concepts such as bricolage, a ‘concrete thinking through the medium of objects’, the structuralist turn of Cahiers du Cinéma in the 1970s, and forms of structuralism and the structured in American art writing. Speakers include Jadran Mimica (Anthropology), John Clark (Art History & Theory), Melissa McMahon (Philosophy), and Julian Pefanis (Art History & Theory).


Session 1: Lévi-Strauss and Structuralisms
Chair – Yao Souchou
Lévi-Strauss: An Introduction (Jadran Mimica)
Symbolic Structures: Mauss, Lévi-Strauss and Lacan (Julian Pefanis)

Session 2: Translations
Chair – Julian Pefanis
Bricolage Between Art Cultures (John Clark)
Annette Michelson’s “Art and the Structuralist Perspective” (Meredith Morse)

Session 3: Structuralisms and Cinema
Chair – Laleen Jayamanne
How do we recognise Deleuze’s structuralism? (Melissa McMahon)
Structuralism, Film, and Cahiers du Cinéma (Daniel Fairfax)


Jadran Mimica (Department of Anthropology)
Lévi-Strauss: An Introduction
This presentation provides a critical perspective on Claude Lévi-Strauss’s structuralist imagination by focussing on his key concepts: the human unconscious and symbolism as the matrix of social-cultural life-worlds.

Melissa McMahon (Department of Philosophy)
How do we recognise Deleuze's structuralism?
Deleuze's 1967 essay "How do we recognise structuralism?" is certainly recognisably Deleuzean: the author stalks structuralism like a birdwatcher in the field and then enters into an Ahab-like becoming where Deleuze becomes a structuralist and all of the structuralists become Deleuze. Perhaps the unorthodox understanding

of kinship structures on show in this essay is the place to start in examining Deleuze's relation to structuralism, as both observer and participant. A full examination would include Deleuze's fascination with totemism, perhaps especially apparent in his work with Guattari, but we will content ourselves here with locating the traits in this essay that distinguish its structuralism as specifically Deleuze's.

John Clark (Department of Art History and Theory)
Bricolage Between Art Cultures
The leitmotif of La Pensée Sauvage is the bricoleur problem, and its analysis can in art be used to look at an interpretive position for assemblages or collages. However, the understanding of cross-cultural transference of art styles and their intra-cultural transformation may also benefit from a distinction between mythology, scientific conception and their intermediate stage or domain of bricolage - concrete thinking through the medium of objects. In the case of art, this concrete thinking is frequently applied to styles themselves. It may help us understand why Fauvist and Expressionist stylistic discourses have had an appeal in Japan and elsewhere which is not a misprision, but a kind of concrete thinking through style as the bearer of a special kind of material and inter-cultural object.

Julian Pefanis (Department of Art History and Theory)
Symbolic Structures: Mauss, Lévi-Strauss and Lacan
This presentation examines how the dualism inherent in Lévi-Strauss's structuralism was complicated by Lacanian thought, giving rise to a countertradition called poststructuralism...

Daniel Fairfax (Honours, Department of Art History and Theory)
Structuralism, Film and Cahiers du Cinéma
The events of May '68 not only had a major impact on French society, but were also the cause of sweeping change in the area of film criticism and theory, in particular within the country's highest profile journal, Cahiers du Cinéma. Under the editorship of Jean Narboni and Jean-Louis Comolli, Cahiers turned towards a structuralist analysis of film and a Marxist-Leninist critique of its role in society. This talk will look at the development of this project from 1968 to the mid-1970s, and relate it to the theories of Althusser, Metz, and Lacan, and the film practice of directors such Jean-Luc Godard and Jean-Marie Straub.

Meredith Morse (PhD, Department of Art History and Theory)
Annette Michelson’s “Art and the Structuralist Perspective”
In 1969, the Guggenheim Museum, New York, sponsored a lecture series titled On the Future of Art. Speakers included Herbert Marcuse, behaviourist B.F. Skinner, architect Louis I. Kahn, and art-world figures Jack Burnham, Annette Michelson, and James Seawright. Michelson contributed a lecture on Lévi-Strauss and structuralism. This paper considers Michelson’s choice of topic in terms of her thinking on Robert Morris, Yvonne Rainer, cinema, and a new critical model for Minimalist sculpture that she promulgated in essays of the same year.

Session Chairs
Yao Souchou (Department of Anthropology)
Laleen Jayamanne (Department of Art History and Theory)

Meredith Morse and Jadran Mimica

Bookings and enquiries:
Meredith Morse
Department of Art History and Theory
R.C. Mills Building
The University of Sydney NSW 2006

This forum is supported by the Power Institute Foundation for Art & Visual Culture, Department of Anthropology and the School of Literature, Art and Media, University of Sydney.

This event notice might interest Theory Cluster readers...

a r t s p a c e
43 - 51 Cowper Wharf Road
Woolloomooloo NSW 2011 Australia
t: +61 2 9368 1899

Re-Framing Art: The Conditions of Theory

2 - 5pm Saturday 9 September
$8/$5 concession

In 2003 the editorial board of the Chicago-based journal Critical Inquiry in 2003 asked invited participants a series of questions as part of their symposium "Critical Inquiry in the 21st Century". Question 1: It has been suggested that the great era of theory is now behind us and that we have entered a period of timidity, backfilling, and (at best) empirical accumulation. True?

Pronouncements of the irrelevance and consequential demise of critical and cultural theory are now commonplace. Re-Framing Art: The Conditions of Theory brings together a group of artists, writers and theorists to address the question of whether we really are now living 'after theory'? What is it we are talking about when we cite 'theory'? Is it now simply shorthand for irrelevant intellectual pursuit displaced by the hegemony of market and cultural individualism salved by new claims to humanism? How did theory become the pejorative of thought? Why the divides between theory and practice, theory and direct action, theory and life? Can it be true that the new urgencies of the 'age of terror' preclude critical reflection? What are the implications of the shift in modus operandi of art writing in Australia from critical exegesis to PR copy? Or of the emphasis upon 'professional practice' modules rather than critical theory within art colleges?

Speakers include: Nicole Anderson, David Brooks, Gordon Bull, Blair French, Alex Gawronski, Adam Geczy, Elspeth Probyn, Cameron Tonkinwise, Ruth Watson

UTSpeaks - Cronulla, Conflict and Culture
Tuesday 5 September

How can muslim women be heard in Australia?

Following the Cronulla riots, Muslim women have again found themselves
targets of violence and abuse in public places.

Meanwhile public figures claiming to defend women's rights have added to
conflict by damning Islam as misogynistic and a threat to Australia's
egalitarian culture.

In this climate, how can Muslim women speak publicly about cultural change
without fuelling further hatred? This free public lecture confronts issues
of feminism, nationalism and Islamophobia in the post-9/11 world.

Dr Christina Ho

Christina Ho lectures in Social Inquiry in the UTS Faculty of Humanities
and Social Sciences. She researches migration, multiculturalism and gender
and is currently working on a project in partnership with the Muslim Women
Association entitled "Sanctuary and Security in Contemporary Australia:
Muslim Women's Networks, 1980-2005".

Tuesday 5 September 2006
6pm drinks for 6.30pm start

Room 29, Level 4, Building 2
(access via the UTS tower main entrance)

Free Parking
Peter Johnson Building
basement carpark
702-730 Harris St Ultimo

Monday 4 September 2006
Contact Terry Clinton
Tel: 02 9514 1623