Along with keynote speaker, David Wellbery, panelists KH Bhrer, Guenter Blamberger, Wilmelm Vosskamp will examine the resurgence of interest in Heinrich von Kleist in the early 21st century.

A Philosophical Reading Group (DLCL) event, co-sponsored by the Office of the President; the Dean of the School of Humanities & Sciences; the Division of Literatures, Cultures, and Languages; the Department of German Studies; and the "Europe Center" at The Freeman Spogli Institute for International

Co-sponsored by the Europe Center, France-Stanford Center for Interdisciplinary Studies, the Department of History, and the Department of French and Italian

Why do neighbors fight? Why do the world’s ethnic and religious groups experience mutual hatred and suspicion? The Other Town (2011, 45 minutes, in Turkish & Greek with English subtitles) explores how the inhabitants in Dimitsana (Greece) and Birgi (Turkey) are caught in a web of stereotypes that impede bilateral relations between Turkey and Greece. Interviewing the inhabitants during the span of a year, directors Nefin Dinç and Hercules Millas illustrate the turbulent relations between the two countries exist not so much due to their contentious past, but also due to the influence of nationalist ideology on higher education system and everyday life.

Nefin Dinç is Associate Professor at State University of New York at Fredonia. She studied Economics at Ankara University. She holds a Masters degree in Media and Culture from Strathclyde University, Scotland as well as a MFA degree in Documentary Filmmaking from the University of North Texas. She has produced four documentaries on Turkey and its surrounding countries, specifically The Republic Train, Rebetiko: The Song of Two Cities, I Named Her Angel, and Violette Verdy: The Artist Teacher. She is also Director of Youth Filmmaking Project in Turkey, a project sponsored by the U.S. Department of State to teach young Turkish students how to make short films. Currently, she is working on a documentary film about this project.

As a critical category and an object of study, “the contemporary” is often taken for granted or entirely omitted from academic discussion. We often assume it is the purview of journalistic criticism, and wait for consensus to arise before considering it a viable subject of analysis. Higher learning favors the study of the past over the present, which adds institutional blindness to the inherent difficulty of considering a changing object “in real time.” This is all the more pervasive in the case of Latin American culture, which does not circulate in mainstream American humanistic discourse, and is thus relegated to an always-already past condition in our academic milieu.

The premise of the colloquium is simple and enormously thought-provoking: we seek answers –from world-class Latin American, U.S. and European intellectuals, writers, and scholars– to the question of what is the contemporary. Participants follow three main lines of inquiry, addressing questions of comparative modernities, emerging canonicity, and conceptual elucidation of contemporaneity.

Sponsored by the Division of Literatures, Cultures, and Languages; the Cultural Synchronization and Disjuncture Working Group; the Tangible Thoughts for Luso-Brazilian Culture Research Unit;  the Center for Latin American Studies, the Department of French and Italian, the Europe Center, and the Humanities Center at Stanford University

Seminar Synopsis:

The memory euphoria of the past half-century has, if anything, raised awareness of the constructed or invented nature of national memories and their complexity. Because the articulation between the normative rules of public memory and the at times politically incorrect claim to a right to private memory is representational and discursive, cultural artefacts, such as literary texts, films, photographs, videos or monuments have seismically materialized as go-betweens in the memory wars. The memories of empire in the Portuguese cultural tissue have been over the past 40 years after independence of the former colonies contentious sites, where a certain colonial melancholia clashes with a critical nostalgia that has been growing particularly amongst a generation of artists born after decolonization. Colonial melancholia is not simply a result of recent traumatic events, but spreads over two centuries in a pathological inheritance filled with resentment, humiliation, violence, denial, myth and mystification. This melancholic vision of the past has been mediated and disseminated by several media from texts to monuments, photos and films, which have either become accomplices in this regime of power, or have sought to subvert it and have finally created spaces of ambivalence and hybridity. A notorious example of the mediation of the colonial regime was of course photography.  Visibility was pivotal to the image world of the imperial regime, that not only needed to dominate the reality portrayed in the new medium, but which also made use of it for the sake of its own assertive self-representation. The talk inquires into this regime of visibility and seeks by means of a practice of interference to unravel the colonial discourse that used the perceived essentializing of reality supported by visual ‘objectivity’ to create a structure of feeling based on melancholy and nostalgia that would become the dominant  memory of empire in Portuguese culture.  Arguably, in this practice of interference resonates a practice of cultural literacy that allows for the reinterpretation and re-contextualization not only of what the images showed, but  what they meant. Then again, it is precisely a regained cultural literacy in the reading of the visual that lies at the root of the project of critical visual nostalgia enacted by contemporary video artists in the fragmented deconstruction of the imaginary wholeness of nostalgic thinking embedded in home movies.