We, you and I, work out this package first, and at this stage with only week 14, April 14<–18, in mind. That makes it coincide with yuor wish for Audiatur. – If this doen’t work out, the we switch to week 16: April 18–22. This latter one is back-up.

Let’s stick for the first sketch me make to week 14; 4th to 8th April
Do two appearences with Jill’s discipline unit Digital Culture:
— DIGICULT 303

Presentation Language for you, and language of literary or other art works, as well as presentation language for non-Scandinavian theory: both will have to be in English (few of our students are versatile in French). This means Gleize’s réelisme, as well as a short genealogy of this conception of the poetic work in the USA (from Stein to L=A=N=G=U=A=G=E), and in France from Ponge and Dénis Roche to “poet-poetry”, as well as your theoretical input of Jacques Rancière – all of this you have to make available in English (Rancière’s book(s) you’ll find in English, but you have to select one, max. trwo chapters from them for perusal by the sudents on beforehand

Mind you, all of your literary texts/work and other art works, as well as all your theoretical texts will have to be in English (if not in Scandinavian languages); French won’t do suffiently here since only a few of the students command this langugae academically. – So, send me pdf files of your exact work titles in the translations you prefer (English; Scandinavian), or originals in Anglo-American, all per pdf.


Here’s by the way, the text I approached my colleagues with:



Nasjonalt TBLR Forskerutdanningskurs i
Akademisk skriving:

Emnefokus:
“Avhandlingsformer: Artikkelbasert eller monografi?”

UiT Norges arktiske universitet, Tromsø, 29. og 30. september 2016.

Se alle detaljer om påmelding, frister og organisering på TBLR-kursets egen website:
http://www.folk.uib.no/hlils/vp16/


Rancière:
the combination of two functions that are to be defined aesthetically – that is, by the way in which they undo the representative relationship between text and image. [...] The sentence-function is [...] that of linking. But the sentence [...] links in as much as it is what gives flesh. And this flesh of substance is, paradoxically, that of the great passivity of things without any rationale. For its part, the image has become the active, disruptive power of the leap – that of the change of regime between two sensory orders. The sentence-image is the union of these two functions. It is the unit that divides the chaotic force of the great parataxis into phrasal power of continuity and imaging power of rupture. (46)
[Og vidare, med klar referanse til det moderne/seinmoderne, framandgjerande liberalt-kapitalistiske forbrukartilværet og samfunnslivet:]
As sentence, it accommodates paratactic power by repelling the schizophrenic explosion. As image, with its disruptive force it repels the big sleep of indifferent triteness of the great communal [and commodified] intoxication of bodies. The sentence-image reins in the power of the great parataxis and stands in the way of its vanishing into schizophrenia or consensus. (46) [...]
The power of the sentence-image is thus extended between these two poles, dialectial and symbolic [montage]; between the clash that effects the division of systems of measurement and the analogy which gives shape to the great community; between the image that separates and the sentence which strives for continuous phrasing (58).



Pr 16/6-2016
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