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:12986-b8fd806d22b28281286915bf019f1516@events.la.psu.edu DTSTAMP:20260611T005206Z DTSTART;TZID=America/New_York:20241202T121500 DTEND;TZID=America/New_York:20241202T133000 SUMMARY:The Comparative Literature Luncheon Series: Shahzad Bashir DESCRIPTION:\nShahzad Bashir is dean\, Institute for the Study of Muslim Civilisations\, Aga Khan University (International) in the United Kingd om. His most recent books are the Open Access multi-modal digital monogr aph A New Vision for Islamic Pasts and Futures (MIT Press 2022) and The Market in Poetry in the Persian World  (Cambridge 2021). He is currently working on the possibility of theorizing history via photography and a cultural history of knowledge in India circa 1750–1850.\n\nThis talk wil l make a case for understanding historical narration via analogy with an amorphism in conceptual photographic art. Photography works by imaging a world presumed to be phenomenologically perceptible. But the photograph ic image always stands between\, on one side\, the maker’s positionality and technical choices\, and on the other\, the viewer’s prior visual an d other experience. I show that photographic examples containing self-co nscious play on issues of intention and perception provide a template to theorize about historical narration in a complex register. The paradigm I offer references established philosophical discussions of historical narration\; it exceeds these through appeal to the visual metaphor. More over\, I aim to change the conversation away from evaluative judgements on historical narration dominant in philosophical analyses. Instead\, my concerns are\, first\, to theorize how historical narratives operate as mediators between authors and presumed audiences\, and second\, to use the resulting understanding to make us more nuanced readers and writers of history.\n\nFor more details: https://events.la.psu.edu/event/cmlit-l uncheon-series-shahzad-bashir/ X-ALT-DESC;FMTTYPE=text/html:

Shahzad Bashir is dean, Institute for the Study of Muslim Civilisations, Aga Khan Unive rsity (International) in the United Kingdom. His most recent books are t he Open Access multi-modal digital monograph A New Vision for Islami c Pasts and Futures (MIT Press 2022) and The Market in Poetry i n the Persian World  (Cambridge 2021). He is currently working on t he possibility of theorizing history via photography and a cultural hist ory of knowledge in India circa 1750–1850.

This talk will make a c ase for understanding historical narration via analogy with anamorphism in conceptual photographic art. Photography works by imaging a world pre sumed to be phenomenologically perceptible. But the photographic image a lways stands between, on one side, the maker’s positionality and technic al choices, and on the other, the viewer’s prior visual and other experi ence. I show that photographic examples containing self-conscious play o n issues of intention and perception provide a template to theorize abou t historical narration in a complex register. The paradigm I offer refer ences established philosophical discussions of historical narration; it exceeds these through appeal to the visual metaphor. Moreover, I aim to change the conversation away from evaluative judgements on historical na rration dominant in philosophical analyses. Instead, my concerns are, fi rst, to theorize how historical narratives operate as mediators between authors and presumed audiences, and second, to use the resulting underst anding to make us more nuanced readers and writers of history.

For more details: https://events.la.psu.edu/event/cmlit-luncheon-se ries-shahzad-bashir/

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