BEGIN:VCALENDAR VERSION:2.0 PRODID:-//events.la.psu.edu//EN CALSCALE:GREGORIAN BEGIN:VTIMEZONE TZID:America/New_York BEGIN:STANDARD DTSTART:20201101T020000 TZOFFSETFROM:-0400 TZOFFSETTO:-0500 RRULE:FREQ=YEARLY;BYMONTH=11;BYDAY=1SU END:STANDARD BEGIN:DAYLIGHT DTSTART:20200308T020000 TZOFFSETFROM:-0500 TZOFFSETTO:-0400 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=2SU END:DAYLIGHT END:VTIMEZONE BEGIN:VEVENT UID:6818-a5c9c905e9490cb47a4d29d8bde0a444@events.la.psu.edu DTSTAMP:20260609T054007Z DTSTART;TZID=America/New_York:20181001T163000 DTEND;TZID=America/New_York:20181001T180000 SUMMARY:Alum Talk by Dr. Katie Vater (University of Wisconsin, Milwaukee): \"Sta ging the Avant-Garde: Figurations of the Authorial Self in Enrique Vila- Matas\'s Kassel no invita la lógica.\" DESCRIPTION:\nEnrique Vila-Matas&rsquo\;s \;Kassel no invita la l&oa cute\;gica \;(2014) explicitly dramatizes the figure of the author a s a cultural artifact in its representation of Vila-Matas&rsquo\;s real- life participation in dOCUMENTA(13) in Kassel\, Germany in 2012. Vila-Ma tas was part of a performance art project\, in reality an &ldquo\;artist placement scheme\,&rdquo\; titled \;Chorality\, On Retreat: A Write r&rsquo\;s Residency\, which required him to write in public view in a C hinese restaurant. Setting \;Chorality \;in a space associated w ith commercial obligations\, as well as asking the authors to connect di rectly with the public\, activated notions of the author as a cultural p roduct to be consumed. The representation of this experience in \;Ka ssel no invita la ló\;gica \;by Vila-Matas&rsquo\;s fictionali zed autobiographical narrator depicts participation in \;Chorality&n bsp\;as a threat to his identity as a charismatic and avant-garde artist \, given that those identities have been historically determined by avoi ding direct associations with commerce and maintaining art in a sacrosan ct realm distinct from life. I argue that the novel itself becomes a res ponse to the challenge \;Chorality \;posed to his avant-garde id entity\, as it creates an opportunity for Vila-Matas to scale his experi ence at dOCUMENTA through a concrete object\, and thus better control th e reception of his own authorial persona. Unsatisfied with the public di splay of himself as a writer at dOCUMENTA\, Vila-Matas turns to literatu re to emplot his story in a way that returns him to a more traditional a uthor- reader relationship. As he rejects the mutual interaction between author and reader that \;Chorality \;establishes\, the narrator bases his own relational model on the author&rsquo\;s \;domination& nbsp\;of the reader\, asserting his own authority and control in the pro cess. \;\n\nFor more details: https://events.la.psu.edu/event/alum_t alk_by_katie_vater_university_of_wisconsin_milwaukee/ X-ALT-DESC;FMTTYPE=text/html:

Enrique Vila-Ma tas’s Kassel no invita la lógica (2014) ex plicitly dramatizes the figure of the author as a cultural artifact in i ts representation of Vila-Matas’s real-life participation in dOCUM ENTA(13) in Kassel, Germany in 2012. Vila-Matas was part of a performanc e art project, in reality an “artist placement scheme,” titl ed Chorality, On Retreat: A Writer’s Residency, which required him to write in public view in a Chinese restaurant. Setting&nb sp;Chorality in a space associated with commercial obligatio ns, as well as asking the authors to connect directly with the public, a ctivated notions of the author as a cultural product to be consumed. The representation of this experience in Kassel no invita la l&oacu te;gica by Vila-Matas’s fictionalized autobiographical na rrator depicts participation in Chorality as a threat t o his identity as a charismatic and avant-garde artist, given that those identities have been historically determined by avoiding direct associa tions with commerce and maintaining art in a sacrosanct realm distinct f rom life. I argue that the novel itself becomes a response to the challe nge Chorality posed to his avant-garde identity, as it creates an opportunity for Vila-Matas to scale his experience at dOCUMEN TA through a concrete object, and thus better control the reception of h is own authorial persona. Unsatisfied with the public display of himself as a writer at dOCUMENTA, Vila-Matas turns to literature to emplot his story in a way that returns him to a more traditional author- reader rel ationship. As he rejects the mutual interaction between author and reade r that Chorality establishes, the narrator bases his ow n relational model on the author’s domination of the reader, asserting his own authority and control in the process.  ;

For more details: https://events.l a.psu.edu/event/alum_talk_by_katie_vater_university_of_wisconsin_milwauk ee/

LOCATION:227 Burrowes Building END:VEVENT END:VCALENDAR