Sunday, January 12, 2014

Animals and Ecology in the Middle Ages - A Spring 2014 Syllabus

Yayoi Kusama
Yayoi Kusama at David Zwirner
by KARL STEEL

Hi folks,

First, thanks to the guest post from Dorothy Kim, whose promotion of medieval twitter left your humble Brooklyn medievalist longing desperately for Chicago. Very much looking forward to after reports from the entire In the Middle Team, all of whom -- except for me! -- were in the thick of everything, if the evidence of Twitter may be believed.

In the meantime, here's the syllabus for the latest version of my medieval animals course (link to pdf here). I've taught courses on this theme two or three times at Brooklyn College, but never at the Grad Center (courses listed here). I've been able to make a lot of changes to the usual run of this: I'm a different scholar now (I think), and my Grad Center students will be, for the most part, PhD students, mostly possessing a base of familiarity with medieval texts and/or critical theory that I can't assume in my Brooklyn College students, regardless of their often very considerable smarts.

Some highlights for what follows:

  • I'm taking a page from Cathy Davidson and including two (short) monographs on my syllabus, Cary Wolfe's Before the Law and Eugene Thacker's In the Dust of this Planet
  • Using Google Docs, we're going to be keeping a "living bibliography" of additional readings, editable by all my students, and available publicly to the world 
  • We're going to do the same with seminar minutes. I remember that Caroline Walker Bynum required seminar students to rotate in minutes-keeping duties; we'll do the same, but we'll post the minutes to Google Docs publicly.
  • I'm looking forward to returning, at the end, to that workhorse of a medieval text, Sir Gawain and the Green Knight, and thinking it anew with what we've picked up along the way. 
Class starts on January 27th, so there's time for changes. Suggestions encouraged!



Animals and Ecology: The Middle Ages
ENGL 80700 [cross-listed with MSCP 80500]
CUNY Grad Center, Room 4433, Mondays 11:45-1:45

Karl Steel
Monday office hour 2:00-3:00 and by appointment
Office Phone: 212-817-8761
Email (best way to reach me): ksteel@brooklyn.cuny.edu


“For anyone who doubts that a horse is by its very nature better than wood, and that a human being is more excellent than a horse, should not even be called a human being.”
Anselm, Monologion

Oister: Listen then, but before we proceed in our discourse, you must promise me beforehand, that while I open (as you see) to speak, you will take care that those Roguy confounded Crabs shall not throw a stone between my two shells, which would hinder me from shutting 'em ever after.
Giovanni Gelli, La Circe
translated by Thom. Brown

“Animals and Ecology: The Middle Ages” will introduce students to the more recent strains of critical animal theory and ecocriticism and consider how this thought might respond to and be transformed by its encounter with medieval cultures. Critical animal theory exploded in interest a little more than a decade ago, primarily through the work of Cary Wolfe, and a critical canon was quickly established, centering largely on Derrida's The Animal that Therefore I am and a few other books, such as Giorgio Agamben's The Open.

With its bestiaries, its art that loved to represent animal/human/vegetable hybrids, its heraldry, hunting, and “household pigs,” and a literature more than happy to include talking animals, medieval studies has been particularly well suited to engage with these fields. Articles and, eventually, books began appearing in earnest over the least 7 or 8 years, although earlier cultural engagements with literal medieval animals date back at least 20 years ago to Joyce Salisbury's The Beast Within. We are therefore now well placed to consider what might be called, clumsily, the second wave of Medieval Critical Animal/Eco Studies.

We can readily identify how the dominant medieval intellectual traditions sought to establish human difference. It's easy to link Augustine to Aquinas to Descartes as the enemies of all animalkind. Many other medieval texts, however, concentrate not on cognition and the possession of a soul but on vulnerability, heterogeneous needs, and scales of time in which humans appear as just one more comprimised actor among others. Such texts often acknowledge the existence of subjectivities completely different from the more familiar lives, emotions, and needs of humans. With these texts, we will work over questions like the following: do animals have a particular claim on us, more than, say, plants? Which animals and why? How might swarms challenge an ethics based on individuals? How does renewed interest in nonhuman materialisms compel a rethinking of the usual arguments of critical animal studies?

Credit Options:
As with most English Program courses, you can register for ENGL 80700 for either 2.0 (graded P/F) or 4.0 credits (regular letter grade). If you are not an English Program student and are registered for 2.0 credits, confirm that your home program allows this, as some programs require that every course counting toward your required 60 credits of coursework receive a letter grade. Students taking the class for 2.0 credits will do all reading, participate in class discussions, do the in-class, oral presentations, and join others in writing the weekly summaries of class discussion. Students taking the course for 4.0 credits will do all this and also write a final seminar paper along with its preparatory assignments.

Students taking the course for 3.0 credits as MSCP 80500 will do all assignments for the class, but can write a final paper that is somewhat shorter (10-15 pages) than that required of students doing ENGL 80700 for 4.0 credits.

Learning Objectives:
By the end of the semester, students will be able to do:
  • discuss, write about, and teach a wide range of medieval works;
  • analyze a variety of historical and theoretical approaches to nonhuman animals and ecology, and incorporate such approaches into their own critical writing;
  • consider how thinking about nonhuman animals and ecology in the contemporary world might be understood in ways both similar to and different from medieval understandings.

TEXTS and READING
You are encouraged to do some reading before the class begins. If you are not comfortable with Middle English, try to get comfortable. Harvard's METRO site is especially useful: http://metro.fas.harvard.edu/icb/icb.do. You might also familiarize yourself with some of the basics of critical animal studies. Read Derrida's “The Animal that Therefore I am” (available in a volume bearing the same title) and several chapters in my How to Make a Human: Animals and Violence in the Middle Ages: I recommend the Introduction, Chapter 3, and the Epilogue. It's available as a PDF here: https://www.dropbox.com/s/2kogaeb5a0egel5/Steel_2ndproof.pdf. You might also want to watch this video of my introduction to Critical Animal Studies: http://vimeo.com/56740190

We will also be generating a collaborative bibliography on critical animal studies, ecotheory, materialism, and, if possible, their relationship to medieval studies on Wikispaces here. Everyone in the class will be granted permission to edit it, and I will ask you to join me in regularly adding items.

Also, please obtain a copy of each of the following in some form. It's fine with me if you use Ebooks and PDFs on tablets or other larger touchscreen computers, but you'll want to mark key passages in advance of class discussion. Other course readings will be provided as PDFs or otherwise will be made available electronically.

Gerald of Wales, The History and Topography of Ireland, trans. John O'Meara [from the first recension] (New York: Penguin, 1983), ISBN 0140444238.
If you'd like to check the Latin, here is the text of the first recension, https://www.dropbox.com/s/zjy6ba9v8yg2l9u/gerald%20topographia%20hibernie%20first%20recension.pdf; for the second recension, https://archive.org/stream/giraldicambrensi05gira#page/n11/mode/2up; for a digitized, lavishly illustrated manuscript, see British Library, Royal MS 13 B VIII, 1r-34, http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Royal_MS_13_b_viii

Chaucer, Geofffrey. Parliament of Fowles and House of Fame. I'll be using the Riverside Chaucer, which many of you might already own; otherwise, you can use the Dream Visions and Other Poems (ISBN 0393925889) published by Norton, ed. Kathryn Lynch. Whatever edition you use should have the text in Middle English. You'll also want the Prioress's Portrait from the General Prologue of The Canterbury Tales.

Henryson, Robert, The Complete Works, ed. David J. Parkinson (Kalamazoo: Medieval Institute Publications, 2010). ISBN 9781580441391
The text is available for free online at
If you are buying the book used, be careful to get this edition rather than the 1997 one by Kindrick. The 2010 Parkinson edition improves on Kindrick in several respects, perhaps most usefully, by providing a substantial introduction to reading Middle Scots and by glossing the text more thoroughly, making it easier for to read. If you'd like to see the 1570 edition like the one Parkinson used, go to EEBO (avail. in Grad Center Library Databases) and do a keyword search for “Henrisone.”

Thacker, Eugene. In the Dust of This Planet: Horror of Philosophy vol. 1. (Alresford, UK: Zero Books, 2011). ISBN 184694676X

The Saga of the Volsungs, trans. Jesse Byock (New York: Penguin, 2004). ISBN 0140447385.
I do not read Old Norse, but if you do, let us know. If you're buying a different translation, get one done first within your lifetime, as earlier translations often archaize the language, which is interesting for a history of medievalism, but perhaps less interesting for us. A not cheap facing page edition is available through here: http://aq-verlag.de/bibliotheca-germanica-series-nova/vol-3-volsunga-saga/

Sir Gawain and the Green Knight. Any edition is fine; a translation is fine, actually, if you're not comfortable with Middle English, but ideally you'll read it in Middle English.

Wolfe, Cary. Before the Law: Humans and Other Animals in a Biopolitical Frame (Chicago: University of Chicago Press, 2012), ISBN 0226922413.


January
Jan 27 General Approaches
Genesis 1-3
John Lydgate, “The Fifftene Tokyns aforn the Doom” (https://archive.org/stream/minorpoemsofjohn00lydguoft#page/116/mode/2up)
Souillac Column: http://www.flickr.com/photos/sharmanka/sets/72157626077568847/
“The Wolf Child of Hesse” (translation in Animal, Vegetable, Mineral: Ethics and Objects, ed. Jeffrey Jerome Cohen (Washington, DC: Oliphaunt Books, 2012))
Exemplum 453, “Luporum more currit et ululat aliquis,” in An Alphabet of Tales, ed. Mary Macleod Banks, Vol II. (London: Kegan Paul, Trench, Trübner & Co., 1905)
https://archive.org/stream/analphabettales01ligoog#page/n68/mode/2up
February
Feb 3 Theoretical Principles for Animal Studies
Wolfe, Before the Law
Short medieval hunting law translated here: http://www.inthemedievalmiddle.com/2012/06/forest-law-and-deers-lively-carcass.html
Short medieval readings: “Melion,” http://www.liv.ac.uk/media/livacuk/cultures-languages-and-area-studies/liverpoolonline/Werwolf.pdf
Chaucer's portrait of the Prioress from the General Prologue to The Canterbury Tales
Feb 10 Animal Communities/Talking Animals
Chaucer, Parliament of Fowles and House of Fame
Donna Haraway, When Species Meet, introduction
Feb 20 (Thurs) Animals, Violence, and Sympathy
Henryson, The Morall Fabillis
Donna Haraway, When Species Meet, introduction (continue discussion)
Feb 24 Animals and Lineage
Marie de France, “Guigemar,” “Yonec,” and “Bisclavret” (from the Lais)
“Androcles and the Lion [and the Bear Mother],” in The Early English Versions of the Gesta Romanorum, ed. Sidney J. H. Herrtage (London: Trübner & Co., 1879), 327-331, https://archive.org/stream/earlyenglishver03herrgoog#page/n364/mode/2up
Geoffrey of Auxerre, On the Apocalypse, Joseph Gibbons, trans., 139-57 [Melusine];
Alphabet of Tales #653 on the Prince of Crete, http://quod.lib.umich.edu/c/cme/AlphTales/1:657?rgn=div1;view=fulltext.
Jeffrey J. Cohen, “The Werewolf's Indifference,” Studies in the Age of Chaucer 34.1 (2012): 351-356.
Susan Crane, “Wolf, Man, and Wolf-Man,” in Animal Encounters: Contacts and Concepts in Medieval Britain (Philadelphia: University of Pennsylvania Press, 2013), 42-68
March
March 3 Talking Back
Testamentum Porcelli;
“By a Forest as I gan fare” DIMEV 922, from Middle English Lyrics, ed. Maxwell S. Luria and Richard L. Hoffman (New York: Norton, 1974): 123-25;
Middle English “Balaack and Balaam” from The Chester Plays;
Thomas Brown translation of G. Gelli, Circe, Book 1 (On the Oyster and the Mole);
“Complaint of the Birds to Luther against Wolfgang,” trans. in Preserved Smith, The Life and Letters of Martin Luther (New York: Houghton Mifflin, 1911), 360-61
https://archive.org/stream/lifeandlettersm00smitgoog#page/n404/mode/2up;
Margaret Cavendish, “The Hunting of the Hare,” http://xtf.lib.virginia.edu/xtf/view?docId=chadwyck_ep/uvaGenText/tei/chep_1.0848.xml;chunk.id=d165 ;
Choose any three from Phaen/Ex 8.3 (2013), on “Animal and Food Ethics”
http://www.phaenex.uwindsor.ca/ojs/leddy/index.php/phaenex/issue/current/showToc
March 10 The Manuscript Turn in Medieval Animal Studies
John Lydgate, “Debate of the Horse, Goose, and Sheep.”
Readings on “the manuscript turn” from Sarah Kay (Postmedieval 2.1 (2011): 13-32), Bruce Holsinger (“Uterine Vellum, A Florilegium,” http://burnablebooks.com/uterinevellum/), Elaine Treherne (Postmedieval 4.4 (2014): 465-78), and selections from Katie Walter, ed. Reading Skin in Medieval Literature and Culture (available through Palgrave Connect)
March 17 Other European Traditions
The Saga of the Volsungs
Geoffrey of Monmouth, Vita Merlini, selections, http://www.sacred-texts.com/neu/eng/vm/vmeng.htm (from University of Illinois Studies in Language and Literature 10.3 (1925)
Everyone: find a relevant or interesting scholarly article on your own and come in ready to talk about it and how it enriches this week's reading.
March 24 Theoretical Principles for Ecostudies
Gerald of Wales, History and Topography of Ireland

Serenella Iovino, “Steps to a Material Ecocriticism. The Recent Literature About the
“New Materialisms” and Its Implications for Ecocritical Theory,” Ecozon@ 3.1 (2012): http://www.ecozona.eu/index.php/journal/issue/view/7/showToc
Pick two from Postmedieval 4.1 “Ecomaterialism”
March 31 Into the Wild?
The Anglo-Norman Voyage of St. Brendan, translation from Appendix 2, Jude S. Mackley, Northern World : The Legend of St Brendan : A Comparative Study of the Latin and Anglo-Norman Versions
Jane Bennett, “A Vitalist Stopover on the Way to a New Materialism,” in Diana Coole and Samatha Frost, eds., New Materialisms: Ontology, Agency, and Politics (Durham: Duke University Press, 2010), 47-69
Pick two more from Postmedieval 4.1 “Ecomaterialism”
April
April 7 Settlement, Food, and The Origins of Culture
Ruth Evans, “Gigantic Origins: An Annotated Translation of De Origine Gigantum,” Arthurian Literature 16 (1998): 197-211.
Jean de Wavrin, Recueil des croniques et anchiennes istories de la Grant Bretaigne, in A Collection of the Chronicles and Ancient Histories of Great Britain, Now Called England, trans. William Hardy (London: Longman, Green, Longman, Roberts, and Green, 1864), 1: 4-29,
https://archive.org/stream/acollectionchro00hardgoog#page/n92/mode/2up
Serpil Oppermann, “Material Ecocriticism and the Creativity of Storied Matter,” https://www.academia.edu/5330227/Material_Ecocriticism_and_the_Creativity_of_Storied_Matter
to appear here: http://www.tijdschriftframe.nl/portfolio/item/frame-26-2-ecocriticism/
selections from Marx, The German Ideology on human/animal difference
Due: One paragraph sketch of final project
SPRING BREAK
April 28 Death and Waste
Middle English “Debate Between the Body and the Worms”
Middle English Vision of Tundale http://d.lib.rochester.edu/teams/text/foster-three-purgatory-poems-vision-of-tundale-introduction
Eugene Thacker, In the Dust of this Planet
May
May 5
Plant Thought
Two episodes from the Alexander Legend: Alexander and Dindimus and the “Tree Women”
Alexander and Dindimus: Ranulf Higden and John Trevisa, Polychronicon, ed. Joseph Rawson Lumby (London: Longman & Co., 1865), 3:454-79
Tree Women: read Peggy McCracken, “The Floral and the Human,” in Animal, Vegetable, Mineral: Ethics and Objects, ed. Jeffrey Jerome Cohen (Washington, DC: Oliphaunt Books, 2012), 91–122
Dominic Pettman, “The Noble Cabbage [Review of Michael Marder’s Plant-Thinking],” Los Angeles Review of Books, July 28, 2013,
https://lareviewofbooks.org/review/the-noble-cabbage-michael-marders-plant-thinking/
Due: Prospectus/Annotated Bibliography for Final Project
May 12
The Nonhuman in/with the Familiar
Sir Gawain and the Green Knight
Eileen A. Joy, “Weird Reading” in Speculations IV http://punctumbooks.com/titles/speculations-issue-iv/
May 19 Final Paper presentations
Even if you're not writing a paper, please attend and give your colleagues your support.
May 26 Final Paper (15-20 pages) Due


Tuesday, January 07, 2014

#medievaltwitter


a guest post by Dorothy Kim [@dorothyk98]

MLA 2014 in subarctic Chicago is around the corner. Many articles have already discussed the rules and guidelines for tweeting this conference: http://convention.commons.mla.org/2013/12/03/virtual-mla-a-quick-guide-to-using-twitter-at-the-mla-convention/ and this https://chroniclevitae.com/news/242-conference-season-is-here-don-t-stink-at-twitter or this http://chronicle.com/blogs/profhacker/ten-tips-for-tweeting-at-conferences/54281?cid=wc&utm_source=wc&utm_medium=en. I will not rehash what these articles lay out, but medievalists should read these excellent pieces in order to understand what will happen at conferences in regards to twitter. Some basic things of note for medievalists: 
1. follow the #hashtag
2. the general rules these days are that people are going to tweet your conference presentation unless you announce you do not want it to be tweeted
3. attribute who is saying what
4. realize that live-tweeting a talk is your scholarly ally, not an enemy.
Finally, there are usually two types of conference tweeting: 1. summary or reporting what is being said or 2. being an active discussant/participant on twitter about the presentation. 

For a long time, tweeting the MLA particularly and conferences more generally was located in the world of digital humanities (DH) scholarship and in DH panels, conferences, and workshops. There have been a few dust-ups including #twittergate:  http://www.insidehighered.com/news/2012/10/02/scholars-debate-etiquette-live-tweeting-academic-conferences. Tweeting has moved out into other disciplines, but not as readily or as intensely as in the DH scholarly world. However, many of the standard rules and etiquette for live-tweeting conferences has developed from the twitter practices in DH. This post on #medievaltwitter is both a personal story about a medievalist tweeting, but also a rumination about why twitter should be one of the most comfortable digital platforms for medievalists.

Twitter Egg

I was forced to get a twitter account at a digital humanities and liberal arts colleges conference in Washington D.C. in April 2012. When I mean forced, I do mean forced. I was sitting between Kathryn Tomasek (Wheaton College) @KathrynTomasek and Rebecca Frost Davis @FrostDavis (St. Edward’s University). They both had iPads and other devices out ready to live-tweet a discussion about Library-IT-Faculty collaboration. I believe it was Rebecca who leaned over and said, “you’re tweeting along right”? I said: “Ummm, no. I don’t have a twitter account.” They were both shocked. At this point, I had been in and out of DHSI, DH conferences for liberal arts colleges, NITLE DH webinars, and TAPAS planning meetings with them for over a year and a half. It’s more or less expected if you are doing any kind of DH scholarship to have a twitter account. It is the major location of DH information, networking, and scholarly conversation. Rebecca opened up the twitter page on my computer and pretty much said, “you need to start.” This is how, where, and why my twitter self was born.

For months, I had maybe a dozen followers, several people at the DH and liberal arts college conference where I had originally lived-tweeted (and Rebecca and Kathryn had tagged and retweeted my tweets) and random IT college friends. My icon was an egg with a green background; I was an egg for a very long time.

My twitter account would come out for digital humanities conferences and talks. And because of this, the first set of rules and etiquette I learned about tweeting came from the DH world. Here, it is standard to live-tweet and to live-tweet heavily. Usually the #hashtag is already set up and often the entire twitter feed streams live on a AV screen for the rest of the audience to see as the speaker delivers his/her talk. This kind of live-tweeting creates simultaneously unfolding discussions and conversations that includes both people in the audience live-tweeting and others who can’t physically be present following, commenting, arguing, and asking questions over twitter.

It’s a frantic and heady thing to see a session being live-tweeted. The adrenaline is high; the comments are in live time and at high speed; and it always makes for a fantastic Q&A session. For the speakers, especially those who don’t realize this, if someone is live-tweeting your talk, s/he is concentrating intensely on what you are saying. The live-tweeters are usually heavily invested in what is unfolding in the session. I have participated in these kinds of live-tweeting sessions in which separate discussions are happening in response to what the speaker is saying—often with linked information and several lightning exchanges about key points. But usually, this has been at DH talks and not for talks in medieval studies.

#medievaltwitter

The peculiar thing is, DH-style, intense live-tweeting reminds me most of medieval commentary practice. As a manuscript specialist, I spend a lot of time looking, reading, transcribing, and thinking about the physical manuscript medium. I am obsessed with the marginal and interlinear glosses and commentary as I am with the main text in a manuscript. If the medieval manuscript is a recording medium that allows scholar now to see the conversations and connected marginal glosses of individual readers, then twitter is the digital medium that replicates this practice the most but with comments all the time and in real time for individual thinkers. And like the medieval manuscripts that many of us work with (though we clearly don’t put in our own marginal commentaries anymore), twitter also records our short, marginal thoughts. Twitter as a medium also allows us to archive and record these conversations (vis-à-vis storify, etc.). For all these reasons, I adore twitter. It also helps they didn’t sign their privacy over to the NSA.

At recent medieval conferences I have attended, there has been some unease about twitter and what it means that people are live-tweeting paper sessions and talks. Roopika Risam in discussing twitter at MLA writes: “As social media usage becomes a common feature at conferences, anxieties about authority, control, attribution, originality and privacy are likely to haunt the theory and practice of scholarly social media use for some time to come.” If this statement does not create déjà vu for most medieval scholars especially in relation to the scholarly discussion about the place of marginalia, runaway scribal commentary, and the invention of scribal versions, I don’t know what will. Roopika Risam’s statement particularly about the “anxieties about authority, control, attribution, originality and privacy” could be straight out of Michael Camille’s book Image on the Edge.

Most medievalists probably don’t realize that twitter, as a multimedia communication platform, functions like the space of marginalia in medieval manuscripts. Even twitter’s tone is reminiscent of the tone of medieval marginalia. Twitter’s tone and range can include very scripted and serious scholarly arguments similar in tone and purpose to what medievalists see in looking at the Glossa Ordinalia. “Pangur Bán”—the 9th c. Old Irish poem written by a scribe about his cat on the margins of the Reichenau Primer—has to be the first cat meme. I don’t think people would be surprised that a lot of #medievaltwitter is filled with images from the margins of manuscripts—often the most salacious, eye-browing raising, and naughty ones. How many times has the decorated, farting and pooping monkeys circulated on twitter in the last 6 months? Twitter is a space for encyclopedic information, new linked discoveries, intense scholarly arguments, and even politicized activism. Twitter can be radically serious in pushing against the “authority and control” of the state, the scholarly-industrial complex, and institutional power. It can also be playful, hysterically funny, irreverent, cute: an utter delight though often also still radically pushing against the “authority and control” of the powers-that-be. Medievalists know that marginalia is a vast field of interconnected worlds. It’s the space of records, lives, and also intense creativity. The beginning of English poetry, as seen in Caedmon’s hymn, began as a marginal note in several Latin Bede manuscripts. We’ve seen whole histories written on the margins of manuscripts—as the English Peterborough Chronicle demonstrates with the Anglo-Norman Li Rei de Engleterre written entirely in the margins of an early Middle English historiographic manuscript.

Beyond the scholarly communication uses of twitter—instant notices about jobs, internships, fellowships, new digital projects, manuscript images, and seriously delightful images of astonishing marginalia, etc.—twitter can be a highly politicized and often heated space. But as many medievalists who work on animal studies may have realized, the platform’s name and avatar should have clued us into what the space is about. For medievalists, twitter should be a familiar and comfortable medium. Medieval texts are obsessed with avian discourse as the space of radical political allegory and discussion. If you are on twitter, you have an avatar, a handle, and you “tweet.” The medium has dictated that you are in the allegorical space of a bird. You are part of a floating community that allows you—as we can see in Marie de France’s Fables, or Chaucer’s Parlement of Foules—to speak radical (and often uncomfortable) politicized, intellectual, and social truths.

Tweeting as a “medievalist, digital humanist, and feminist”

Today, my twitter feed is my most visible public social media space. My academia.edu page is very bare-bones; I don’t have my own separate website; I don’t blog (other than a guest post or two). However, I tweet, and I tweet regularly. I am not an egg anymore. I now usually have seasonal floral pictures as my avatar. I will probably take a picture of the arctic vortex tomorrow and change my twitter avatar as I head out for Chicago. Currently, I check my twitter feed while walking from my house to the bus stop and on the bus to and from campus in Ann Arbor. I check twitter if I am waiting in line, in the car but not driving, generally, in mundane places where I am waiting for something else. I tweet personally as a “medievalist, digital humanist, feminist,” but I also tweet separately as a scholarly society. As secretary for the Society for Medieval Feminist Scholarship, I run the Society’s twitter feed @SocietyMedFem and Facebook group. And yes, we will be tweeting madly in our two sessions at MLA.

I usually am a documentary tweeter at medieval, Jewish studies, and other non-DH related talks and panels. In other words, I tend to summarize what’s going on at the conference mostly for friends and colleagues who can’t be there but really want to know what’s going on. They, in fact, wherever they are in the world, follow the feed of the conference live. I believe I did this mostly because it was pretty clear that tweeting was not a normal part of the procedures in my other fields. I thought, in these situations (with less participants), the most important thing is to record what’s going on for others who cannot be there but who want to know. We cannot all be at the conferences specifically that discuss our fields all the time. In addition, there are usually not enough on-the-ground tweeters to get into the more participatory tweeting practices seen at DH sessions and panels.

However, this time at MLA, I plan to live-tweet as a tweeting participant and enjoy being in the thick of twitter marginalia. This blog post is then my call to all medievalists out there to get a twitter account and become participant tweeters at this conference. Or for all medieval academic tweeters, follow the conference feeds and be a participatory tweeter in the sessions and talks. Let’s enjoy our discussions live and online. Let’s delight, frolic, and link our points for other medievalists who can’t be in subarctic Chicago with us. Let’s revel intellectually, politically, and socially in this very medieval of contemporary social media spaces.

So along with following the specific MLA-designated #hashtags for the sessions, go ahead and use #medievaltwitter so we can follow all the great conversations and participate in what’s going on in our field. Let’s create archivable medievalist marginalia and tweet our intellectual, social, and political truths for future generations.

On a last note: Don’t forget to send pictures to @MLAelevator or its archnemesis @MLAelevatorhulk. Yes, I was there when it was generated. And as medievalists, I think we would delight at the very marginalia-like antics of @MLAelevator. I promise to make sure the MLAelevator tumblr is also up and running.


Dorothy Kim (@dorothyk98)
Assistant Prof. of English at Vassar
Frankel Fellow at the University of Michigan



Monday, January 06, 2014

Prismatic Ecology now in print!

by J J Cohen

The FedEx truck dropped off my copy Friday, so now I know it's real. Prismatic Ecology: Ecotheory Beyond Green is out. Aesthetically it's just ... wow. And the essays in it are (take it from the editor) really something great. Here's what's included:

Foreword
Lawrence Buell
Introduction: Ecology’s Rainbow
Jeffrey Jerome Cohen
White
Bernd Herzogenrath
Red
Tobias Menely and Margaret Ronda
Maroon
Lowell Duckert
Pink
Robert McRuer
Orange
Julian Yates
Gold
Graham Harman
Chartreuse
Allan Stoekl
Greener
Vin Nardizzi
Beige
Will Stockton
Brown
Steve Mentz
Blue
Eileen Joy
Violet-Black
Stacy Alaimo
Ultraviolet
Ben Woodard
Grey
Jeffrey Jerome Cohen
Black
Levi R. Bryant
X-Ray
Timothy Morton
Onword. After Green Ecologies: Prismatic Visions
Serenella Iovino and Serpil Oppermann

Emphasizing sustainability, balance, and the natural, green dominates our thinking about ecology like no other color. What about the catastrophic, the disruptive, the inaccessible, and the excessive? What of the ocean’s turbulence, the fecundity of excrement, the solitude of an iceberg, multihued contaminations? Prismatic Ecology moves beyond the accustomed green readings of ecotheory and maps a colorful world of ecological possibility.
In a series of linked essays that span place, time, and discipline, Jeffrey Jerome Cohen brings together writers who illustrate the vibrant worlds formed by colors. Organized by the structure of a prism, each chapter explores the coming into existence of nonanthropocentric ecologies. “Red” engages sites of animal violence, apocalyptic emergence, and activism; “Maroon” follows the aurora borealis to the far North and beholds in its shimmering alternative modes of world composition; “Chartreuse” is a meditation on postsustainability and possibility within sublime excess; “Grey” is the color of the undead; “Ultraviolet” is a potentially lethal force that opens vistas beyond humanly known nature.
Featuring established and emerging scholars from varying disciplines, this volume presents a collaborative imagining of what a more-than-green ecology offers. While highlighting critical approaches not yet common within ecotheory, the contributions remain diverse and cover a range of topics including materiality, the inhuman, and the agency of objects. By way of color, Cohen guides readers through a reflection of an essentially complex and disordered universe and demonstrates the spectrum as an unfinishable totality, always in excess of what a human perceives.

Read more about the book here! And please consider buying yourself a copy. It's a reasonable price for something with so much within. Only $20 on Amazon.

Thursday, January 02, 2014

Peter Jackson, Epic Dwarves and Extraordinary Bodies

by J J Cohen

Steve Mentz has a great blog post (Just Get There: Hobbit 2 as Whitewater Epic) on the latest installment of the Hobbit trilogy. The piece is not only extraordinarily well written, it is hilarious. Read it! I want to reflect here a little on The Desolation of Smaug as (in Steve's apt words) "an epic whitewater serpent."

I knew what I was getting into when I signed up to go to the film, so I don't have any negativity about the thing -- yes, it is too long, too self-referential (return of the carrot eating man at the Prancing Pony!), too LotR part deux, too profligate in its gold, bad fan fiction, but, whatever. Steve notes that The Hobbit (the book) is not an epic and never aspired to be, and its dwarves are -- in Tolkien's own words -- "not heroes, but calculating folk with a great idea of the value of money." Indeed, Tolkien's narrative is classic anti-epic (small in scale, resolutely non-heroic, deeply ambivalent about war). So Steve asks a rather profound question of genre and the epic-addled Peter Jackson film:
But Peter Jackson and his machinery will not be denied, and Hobbit 2: Chiefest and Greatest of Calamities walks, quacks, and breathes fire like an epic. How does he do it? What can epic make of a furry-footed hero and his vertically-challenged if facially hirsute comrades?
His blog post does an excellent job of mapping the story's progress as a flow: the there-and-back-again circularity of The Hobbit (novel) yields to the rushing rivers (of water, of gold) in the film. Steve's observation "Everything flows: is Jackson’s real Muse Heraclitus?" is spot-on.

As I watched the film I contemplated a related question, wondering if a children's book of such small scale (emphasized in its small characters) really could become an epic -- and then I wondered why I should wonder that. Who gets to be included in an epic, and who must be left out, or left to the edges? Why can't dwarves -- the characters Steve calls the "vertically-challenged if facially hirsute comrades" -- be epic heroes? Why are dwarves always, even in the sagas and medieval works, always bit players, never protagonists or heroes?

The dwarves have a much expanded role in the film, much larger than in the book, where they often seem like so much background to Bilbo's fussiness and adventuring. We all know that hobbits are not epic-worthy; that's the point of hobbits. They are the humane, domestic, tea-loving and diminutive figures around and for whom action swirls. Epic demands vastness of scale: wizards! trolls! ents! elves! oliphaunts! and other tall creatures! It also demands passion -- so we get the Aragorn-Arwen romance, much played up in the LotR films. Gimli son of Glóin tries his best to be part of the film's epic action, but he is always a little ridiculous, some light-hearted defeat of epic expectations offered in order to support those expectations. Gimli can't run as quickly as Aragorn and Legolas when they are reduced to a threesome and has to be scooped onto a horse. In one particularly awful scene at Helm's Deep he is hurled by Aragorn (that's the bar game of dwarf tossing being invoked; it's supposed to be funny but...). Gimli's love for Galadriel embarrasses even him  -- and is cutely tame as well (he gets a single hair from her; she is impossible as love-object, and that's the point). Dwarves are not sexual: their short and non-handsome bodies bar them from desire. Aragon tells Éowyn in the extended version of Two Towers that dwarf women can't be discerned from the males because they also have beards. Dwarves are small guys and it is funny when they try to act big. Epic has small space for them -- unlike hobbits, who are beloved, the ones with the good hearts and the jolly reminders of embodied life; their quiet life in the Shire provides the reason Epic Guys do what they do).

Think of Tyrion "the Imp" Lannister, the dwarf from Game of Thrones: he is hypersexual, a trait that is supposed to be repulsive and attractive. He knows he is not supposed to be eligible for sexual attraction, and yet he keeps on desiring, to the horror of some and the delight of others. He's a violent schemer, a charismatic monster, a mini Richard III, and he's appropriately loved-hated for that. He is not a "mythic" dwarf, not a member of a race: he is the disabled body in a court full of beautiful if wicked people. His disability is what makes him a freak and extraordinary to be stared at (to use three of Rosemarie Garland Thomson's terms for the spectacular work of disability).

I bring up Tyrion, a "real" dwarf, because it struck me as I watched the Hobbit 2 that the film is in part a disability epic. That is, it tries to imagine epic within a non-normate field of vision, from a point of view that is not the traditional gaze of the camera/viewer. The film imagines the world that exists for people who are not Epically Tall elves, men and wizards without diminishing it, without making it cute, domestic, and precious like a hobbit hole and its gardens. A figure that is not tall is not out of place here, and is not made juvenile or naive. What happens when scale and point of view are forced to adjust, so that bodies supposed to be ridiculous and not overly martial and not at all sexual reveal themselves to be all those things? What of a world in which a dwarf can be battle-machine not in a way that offers whimsical contrast with an adept elf (Gimli and Legolas), but straightforwardly and without contrast (dwarves versus orcs during the epic whitewater fight through Mirkwood)? What of a world in which being a dwarf does not necessarily entail inhabiting a disfigured body (though admittedly, it does for many: facial prostheses are used for the majority of the dwarves)? What of a world that might even allow one dwarf to love his wife and little boy enough to carry a portrait of them (Glóin), another to be a doppelganger for Strider (Thorin), and a third to be so smoking hot that an elf maiden and legions of fans (23,800 on FB) fall in love with him (Kili)?

Maybe Jackson's inability not to epicalize The Hobbit has actually accomplished something extraordinary: a tale in which non-normate bodies need not be ridiculous, and an adjustment of epic's point of view. Perhaps the cinematic gaze here re-orients epic, away from the tall and conventionally beautiful people who are its usual eye candy, thereby making it a suitable genre for extraordinary bodies. Instead of the well-blazed trail of anti-epic, Jackson forces the genre to recenter its point of view.

Maybe.

Wednesday, January 01, 2014

Privilege, tenure, adjunctification and the decimated job market

by J J Cohen

Happy new year.

I'm transporting here from FB a public discussion and a sharing of the links about a recent and important conversation among Rebecca Schuman, Tenured Radical (Claire Potter) and many, many others over the miserable state of the job market, the adjunctification of the university, and the culpability of tenured faculty and the graduate programs in which they participate. If you are an academic at any point in your career (and even if you are not, honestly) you should be thinking about the issues that have been raised.

On FB I linked to this recent summary and analysis on the blog The Professor Is In. Karen Kelsky makes some essential points and the piece is well worth reading. I shared the link with this caveat though: I have some trouble with the analogy the post is built around, which simplifies how racism works in order to make a point about the denial that undergirds TT/NTT relations (racism is not only a structure of denial [if it were it would be eradicated through exposure of the facts]; it is also a structure of fantasy and perverse enjoyment, and thereby much more difficult to budge). Framing the issue through economic and social privilege works better than the blog's title invoking an equivalence with racism: the latter diminishes the lived effects of racism by rendering them metaphoric.* Kelsky's recommendations for what to do next seem right on the mark. She suggests that tenured faculty:
  • Slash or halt graduate admissions
  • Make job market training (both academic and non-academic) central to the curriculum
  • Reduce time-to-degree of graduate programs
  • See and include adjuncts in the running of the department-both formally and informally
  • Tell the truth about the corporatized funding models in their universities that sustain their salaries and research funds by cutting other labor costs through the exploitation of adjuncts.
Essential food for thought on this first day of 2014.
_
*David Leonard made a similar point about the the injustice to actual enslaved peoples that equating adjuncting with "slave labor" enacts (though unfortunately his blog post comes across at some points as a defense of the status quo: it does not matter that some adjuncts choose their part-time schedules, and that a few are well paid). 

Sunday, December 29, 2013

Withdrawing the Grain

by KARL STEEL

When I teach the Prioress's Tale, as I did twice last semester, I have typically liked asking the students "who kills the Little Clergeon?" Most give the obvious answer, what we might as well call the correct one: "the Jews," or "a Jewish professional murderer," while others, when sufficiently prodded, blame the monk who plucks the grain from under the little boy's tongue.

Who's the murderer, then? And who makes a martyr? The boy miraculously keeps singing, despite being nearly decapitated, but only until he tells the monk where to find the kill switch. Having killed, the monk goes catatonic, falling as if bound to the floor. And now we in the classroom have something else to talk about. We can keep on about the Antisemitism of the Prioress, or Chaucer, or medieval Christian Culture. But now we can also talk about how stories of martyrs demand a victim, and how the love of sacrifice needs its deaths. And so on.

Now, though, I'm newly sympathetic to the monk. As a reminder, here's the conversation, beginning with the undead boy (a translation into Modern English here if you need it):
"Wherefore [because of that grain] I synge, and synge moot certeyn,
In honour of that blisful Mayden free
Til fro my tonge of taken is the greyn;
And after that thus seyde she to me:
'My litel child, now wol I fecche thee,
Whan that the greyn is fro thy tonge ytake.
Be nat agast; I wol thee nat forsake.'"
This hooly monk, this abbot, hym meene I
His tonge out caughte, and took awey the greyn,
And he yaf up the goost ful softely.
And whan this abbot hadde this wonder seyn,
His salte teeries trikled doun as reyn,
And gruf he fil al plat upon the grounde,
And stille he lay as he had been ybounde.
The monk's newly captured my sympathy, now, because I've made a similar decision, twice, with both of my parents. I was close to my mother (died in 2001) and not so close to my father (died early November, this year), but in both cases I was given and took the monk's choice.

That's far from unique. Most Americans die in hospitals now, many of them only through some decision to let them be allowed to die. In both cases, my parents were unconscious when they finally died: my mother in a coma, my father on morphine. Any decision was made with what was, at best, their literally tacit approval. But it was a decision, made by us more than by them. They did not die on their own.

My father consulted with his children when we decided to withdraw care for my mother (meanwhile, in a cruelty more than a little reminiscent of the Prioress's Tale, I was told that we were "tying God's hands" by letting my mother die). My father's own father suffered a terrible stroke a year before he finally died, but was dragged back into life, not happily. Sometime in his last year, he told my father, "you should have let me die." Probably with that in mind, but also all too aware of his own suffering, my father made it clear enough that he would be willing to be allowed to go when things got bad enough. We knew how to end things, and we suspected, at least, that they wanted things to end. But we could have kept it all going if we wanted to keep it going. The decision finally had to be ours, not theirs.

It's odd and maybe stupid to find my own experience in Chaucer's ugliest tale. It's not as though either of my parents died as a martyr to Antisemitism. But having twice been a parricide, of a sort, like so many others, as so many of us are likely to be, I can't help but feel with the monk, suffering a choice imposed on me, faced with a suffering that is my duty and curse to end, in pity. In pity, but also  "ybounde" to the fact of a death that will never come, and never stop, until we too must withdraw the grain.


Thursday, December 26, 2013

A happy and a merry

by J J Cohen


"How are you?" The customer ahead of me in the Dunkin Donuts line asked this of the young man at the register, in the perfunctory way that New Englanders use the phrase, never expecting a reply. "I AM ALIVE!" he announced with the widest grin. We were flying back to DC from Manchester NH on Christmas, and that seemed a small gift. As were the donuts we allowed our kids to eat just before lunch.

Whether you are celebrating the solstice, Yule, Christmas, Festivus, Boxing Day, the end of the semester or the fact that life-goes-on-so-why-not-revel, here's hoping that your observances bring you joy. And many gifts, great and small, especially from unlikely places.

My holiday card to you consists of two images from our recent trip: sunset as viewed from the small "mountain" where my sister lives in Maine, and a scene of snow along the rocks from the nearby coast.

Wishing you all the best for 2014,
Jeffrey



Friday, December 20, 2013

PUBLISHED: Issue 4.4 of postmedieval: PREMODERN FLESH

by EILEEN JOY

There is a viscous porosity of flesh – my flesh and the flesh of the world. This porosity is a hinge through which we are and of the world.
Nancy Tuana, ‘Viscous Porosity: Witnessing Katrina’

I am thrilled to announce today that Issue 4.4 of postmedieval, PREMODERN FLESH, co-edited by Holly Crocker and Kathryn Schwarz, is now published! As Holly writes in her Introduction (which is free to read and/or download HERE], and in which she performs a gorgeous reading of William Fowler's poem The Laste Epistle of Creseyd to Troyalus (turn of the 17th century) in relation to the themes of the issue and her own preoccupations with "reading in/on the flesh," Holly writes,
Reading in the flesh means we take the surface neither as an obstacle to deeper secrets nor as an end in itself, but as a densely intricate mixture of evidence and sign. This is despite the immediate allure of depth reading, which frequently allows us to get past misleading elements of a narrative’s self-presentation: is something else at work here? . . . Digging into the surface is crucial to reading in the flesh. . . . Surface and depth are coextensive in a way that frustrates both modes of reading. In an effort to capture just this sort of aporia, Heather Love has urged scholars to practice ‘flat’ readings, those that are, in the words of her title, ‘Close But Not Deep’ (Love, 2010). This approach has the virtue of ‘sticking to description,’ a laudable priority it largely shares with surface reading (Latour, 2005, 136–137). Love takes the text at its word, but, unlike proponents of surface reading, the flat reading she outlines retains a healthy measure of hermeneutic suspicion. By working to provide a ‘good description,’ flat readings ‘account for the real variety that is already there’ (Love, 2010, 377). In other words, by documenting tension, flat reading could describe the competing strains on Creseyd’s arrival without seeking to connect either to larger concerns.
. . .
Flat reading is deeply appealing, and influences much of what I have to say about reading in the flesh. I do not describe the work of what happens in this issue as flat reading, however, because, as essays in this collection show, Love’s method puts too much stock in distance. Keeping the flesh at a distance, as [Jan] Zysk and [Emily] King demonstrate in their readings of early modern stagings, is a spectacular failure. In somewhat different fashion, [Jonathan Gil] Harris accounts for flesh’s work across distances of both time and place, while [Frances] Dolan interrogates the veracities of time and place in flesh’s recollections. Reading in the flesh, unlike flat reading, assumes presence, contact and a collapse of the comforting distance of documentation. It does not link subjects through formal narratives that settle bodies into social position and literary history; instead, reading in the flesh enforces interpersonal implication at the level of the mutable, variable body.
 . . .
It is the aim of this issue . . . to begin new conversations about embodied life, autonomous subjects, and the potentials and risks of social (inter)subjectivity. This is, finally, a collective yet varied effort to flesh out what it means to live, write, and read in the flesh.
The issue's contents are richly various, concerned with premodern flesh in many guises (human flesh -- dead, carnivalized, sexualized, hybrid -- manuscript's skin, the ‘translated’ flesh of vegetable matter, and so on) and you can see the Table of Contents here:

Editor's Introduction

  • "In the Flesh," Holly A. Crocker (University of South Carolina)

Essays

  • "Melting Flesh, Living Words," Jay Zysk (University of South Florida)
  • "The Temporal Excesses of Dead Flesh," Cynthia Turner Camp (University of Georgia)
  • "Carnival in The Merchant of Venice," Jonathan Goldberg (Emory University)
  • "The Curious Pleasures of the Heroic Corpse," Kathryn Schwarz (Vanderbilt University)
  • "Scattered Remains and Paper Bodies: Margaret Cavendish and the Siege of Colchester," Frances E. Dolan (University of California, Davis)
  • "Fleshing out the text: The Transcendent Manuscript in the Digital Age," Elaine Treharne (Stanford University)
  • "Spirited Flesh: The Animation and Hybridization of Flesh in the Early Modern Imaginary," Emily L. King (Vanderbilt University)
  • "Hi Mho Jhi Kudd: Thomas Stephens's Translated Flesh, or, Coconuts in Goa," Jonathan Gil Harris (Ashoka University)
I am also personally really stoked (yes, I said that) about the cover image for this issue, which comes from a photographer and artist, Sally Mann, I have long admired, ever since my days as an MFA student in Richmond, Virginia (1988-1992), when I first saw her work exhibited at the Virginia Museum of Fine Arts. In our "About the Cover" feature on the journal's website, here is what I write about the image we chose:

I look, all the time, at the people and places I care about, and I look with both ardor and frank, aesthetic, cold appraisal. And I look with the passions of both eye and heart, but in that ardent heart, there must also be a splinter of ice. (Sally Mann)

The photograph on this issue's cover, Semaphore (2003), is from Sally Mann's Proud Flesh, a series of nude studies of her husband. Mann is considered one of the most important photographer-artists of the 20th and 21st centuries and her work is held in the most important museums in the world. From Immediate Family (1992), portraits of her children (many nude) which ignited great controversy for their frank capture of childhood's many spiritual and physical vulnerabilities, to What Remains (2003), a study of mortality, death and decay which included portraits of Mann's dead greyhound and also bodies from a forensic anthropology facility, to Proud Flesh (2009), which documents the progress of her husband's muscular dystrophy over a period of six years, Mann has produced a powerful body of work that documents both the stark beauty and haunting frailty of bodies and flesh. As this winter's issue, co-edited by Holly Crocker and Kathryn Schwarz, concerns itself with premodern flesh (human flesh -- dead, carnivalized, sexualized, hybrid -- manuscript's skin, the ‘translated’ flesh of vegetable matter, and so on) and the ways in which, as Crocker writes in her Introduction, flesh ‘is ever present’ and ‘the preoccupations it galvanizes are terrifyingly (and sometimes thrillingly) capacious,’ we felt that Mann's study of her husband's sublime body (under ‘affliction,’ as it were) provided a rare opportunity to join the premodern and the modern under the sign of the enduring in/human form, especially as Mann has employed here (and elsewhere) a 19th-century ‘wet plate’ process, in which glass plates are coated with collodion, dipped in silver nitrate, and exposed while still wet. But Mann takes this even a step further by adding imperfections to the final plates because she does not let the collodion go all the way to the edges, and thus her images often have the feel of the damaged ‘antique.’ This gives to her photographs what The New York Times has called ‘a swirling, ethereal image with a center of preternatural clarity.’ Of the work undertaken for the series of photographs that comprise Proud Flesh, which was partly a study of the aging body as well (Mann and her husband have been married for over 40 years), Mann has written, ‘Like Flaubert, two things are sacred to me in my process: impiety and perfection -- the former often hereditary, the latter always hard-won. Beyond the felicitous “unifying accidents” that occasionally grace the work, making art requires tenacity, a temperament born of an ungodly cross between a hummingbird and a bulldozer, and, most of all, practice. Practice looking.’

So, for your holiday-break pleasure, dig into some PREMODERN FLESH. [Yeah, I said that.]