Once a quarter the Consortium provides graduate students in the humanities the opportunity to present papers at a late stage of development to a group of their peers. Presenters are then eligible for CLTC travel grants, to present their work at national conferences. The next colloquium will be held on Tuesday, November 10th from 7:00 PM to 9:00 PM in the English Department Seminar room (South Hall 2635). For the papers presented this year, and coming years, we intend to publish them herein, using comment press to provide writers with another platform to receive feedback. More information will be forthcoming.  Below you can find information from past events.

Fall Quarter 2009:

Consortium for Literature, Theory, and Culture (CLTC) Fall Quarter Colloquium

Tuesday, November 10th, 7:00 PM to 9:00 PM, English Department Seminar room (South Hall 2635)

Please join us for our quarterly CLTC colloquium. These events provide graduate students in the humanities the opportunity to present papers at a late stage of development to a group of their peers. Presenters are then eligible for CLTC travel grants, to present their work at national conferences. This quarter we have a an exciting slate of presenters whose work, after the panel, will be posted online for further feedback.

This quarter’s presenters are as follows:

Dana Solomon, Department of English

No User Required: Young-Hae Chang Heavy Industries and Digital Humanist Inquiry
As many theorists have stated, electronic literature is a new medium that deserves to be studied with its own unique set of methodologies and tools.  It is not enough to simply read a new media text as one would read a print text.  Instead, it is necessary to take into consideration all of the unique aspects of the text/medium including software, platform, script, code, font, multimodality, interactivity, etc.  This paper applies a reworked, or in the parlance of the digital humanities, an updated, method of close reading, one that takes into consideration the wholly singular forms and idiosyncrasies of new media, broadly conceived. This paper utilizes selections from the digital poems/texts of Seoul-based art duo Young-Hae Chang Heavy Industries (YHCHI) to simultaneously apply and critique this new mode of close “reading.”


Debra Herrick, Department of Spanish and Portuguese

Abstract: Spirit and Matter.  New Mexican Mobile Celebrities:
Playing with the dialectic of spirit and matter, I will present tendencies in the works of new mobile Mexican celebrity writers and artists.  These ‘celebrities’ have made their names in the international forum, incorporating themes of their global mobility, without relinquishing strong conceptual ties to their native culture and literary/artistic tradition.  Certain tensions between physical absence and spiritual presence, disassembled and reconstructed identities, parallel textual realities and their points of intersection are repeatedly called upon as authors such as Cristina Rivera Garza and Mario Bellatín integrate pictorial representations and practices into their highly interdisciplinary (inter-arts) texts. Their image-text works include ekphrasis, photographer and painter protagonists and graphic images in-line and within the narrative structure.  At the same time, Mexican visual artists of the same ’sixties’ generation, for example, Gabriel Orozco and Damián Ortega create corresponding responses to the dialectic of spirit and matter, most precisely epitomized in Ortega’s environmental installation Spirit and Matter (2003).  A clear example of the kind of correspondences that I am looking at can be found between Gabriel Orozco’s Empty Chairs–an Indian bus/train station whose empty waiting room chairs have hovering dark spherical grease stains from human hair and skin and Cristina Rivera’s photographer protagonist from Nadie me verá llorar who instead of taking pictures of war heroes during the Mexican revolution chooses to take plates of absences (placas de ausencias) to evoke the unwritten histories of “una silla cuyas arrugas en el asiento indicaban que alguién se acababa de levantar.  Una taza de café con las huellas oscuras, estriadas, del carmín de unos labios.  Un columpio vacío pero en movimiento…” (210).  These eery portraits of passing human presence echo the writings of Heidegger on matter, form and spirit and Benjamin on aura and the angel of history. The works that I will be dealing with directly question matters of ‘celebrity’ as they do not privilege subject or narrative driven histories, but rather, fragmented, leftover, alternate and hidden stories.  Their works suggest ways of seeing the ordinary as extraordinary, the underlying sustenance to dominant lines of history, heroes and celebrities. (DW)

Winter 2009 Colloquia presentations:

Meredith Heller, Theater and Dance, “Representing Feminist Materialism:The methodology, reclamation and refiguration of New Anatomies”

Kevin Kearney, English, “Virtuality, Immateriality, Homosexuality: Network Theory and the ‘Bad Copy’ ”

Tracy Jamison Wood, Classics, “Phaedra’s Game: Hunting, Sex, and Domestication in Euripides’ Hippolytus”

Matthew Driscoll,  Department, “Haruki Murakami and (Post) Modernization of Literary-National Affect”

Judith Hicks, English, “Estranged Nature and Denatured Humankind: Nature as Anti-Mimetic in Modernist Poetics”

Mathew Mewhinney, East Asian Languages and Cultural Studies, ” Displaced Japanese Modernity in Taiwanese Colonial Fiction

Participant Bios/Abstracts:

Meredith Heller is a first year Ph.D. student in the Theatre department and is intending a feminist studies program emphasis.  She received a Master’s Degree in Theater Studies from CSU Sacramento in 2006.  She has also received a Bachelor of Fine Arts in Theatre with an emphasis in acting and directing and a Bachelor of Arts in Women’s Studies from Pacific Lutheran University.  Meredith’s current research examines performance of the body as well as performativity of gender.

Abstract:

My project investigates the intentionality and methodology of female-based, gender bending theatrical performance through the textual, playwright-driven genre of multiple/cross casting.  Although theorists like Butler, Wittig, Case and Senelick have established gender as a performance effectively highlighted through performance, there is contention about the role of the essential, material body in essentialist sex/gender discourse.  Melding Butler’s concept of imitative practice with Grosz and Minh-ha’s theory of an active, participating material body, I contend that Timberlake Wertenbaker’s New Anatomies is the implementation of materialist feminist body re-appropriation toward the goal of refiguring occluded social categories.  In New Anatomies, Wertenbaker creates slippage between identity and role by calling for each female cast member, with the exception of the lead (who plays a passing woman), to perform the role of a Western woman, an Arab man, and Western man.  In addition to these groupings, female actors also play cross dressers, children, women of color, lesbians and male impersonators.  During the course of the play, each actor transitions characters onstage, allowing the audience to watch a physical body move in and out of multiple and diverse ideologies of personhood informed by systems of class, ethnicity, gender, colonialism, cultural hegemony and sexual orientation.  My purpose here is to understand the female body as a site more able to escape from binary notions of sex/gender and therefore more able to flow through categories of representation.  This multiple/cross casting technique is therefore a political rather than an aesthetic choice: layered onto the singular body of a female, these sometimes disparate and sometimes congruent identities visually efface borders as they fluidly morph through the bodily boundary of the actor.

Kevin Kearney is a graduate student in English at the University of California, Santa Barbara. His interests include the intersection of gender studies with new media, theorizing the virtual, and materiality.

Abstract:

The wide accessibility of the Internet has rendered formerly hidden subcultures, such as that of homosexuality, greatly more apparent: the formerly peripheral becomes increasingly visible. With the advent of online avatars through which individuals proclaim their sexuality, inner lives once seemingly impenetrable become projected through the virtual world, with the exterior and interior worlds of sexuality blurred. Yet inasmuch as many theorists claim that the Internet culture provides a new horizontality, leveling hierarchies and eliding differences through accessibility and visuality, reactionary calls against gay rights and even cyberspace impediments prove to be a recalcitrance for heteronormativity, the so-called natural, prelapsarian structure of relationships that contrasts any celebratory call for universalism. This paper investigates the conflation of the “virtuality” of the Internet with the supposed “immateriality” of homosexual relationships alongside discourses of authenticity. Many homosexuals, often isolated in a predominantly heterosexual “rl,” rely on social networking sites or Internet dating services to make connections, physical or virtual, yet oftentimes relationships formed via the Internet are presumed to be illegitimate, inauthentic copies of “real” relationships. Likewise, conservative discourses label gay relationships not only as mere copies of the heteronormative, but as functionless: the ability to physically reproduce is one of the categories in which compulsory heterosexuality positions itself as normative. In exploring the juncture between these two supposed immaterialities, this paper furthermore examines how virtuality and homosexuality are situated in material culture itself. Inasmuch as people of all sexualities must sell themselves via the Internet as products (listings for singles are set alongside listings for houses, cars; physical attributes are labeled like commodity assets), relationships mediated by the virtual may be said to more readily appear as taking on the commodity form. The media format itself, in which desires is manipulated in the realm of the signifier, further juxtaposes the non-essential, purely aesthetic commodity form of late capitalism, often colluded with the feminine, to that of function and pure use-value. It is the proximity, the ever-present “elsewhere” of the virtual, that must be kept at bay. As far as gay relationships pose a danger to compulsory heterosexuality, the broadcasting of homosexual subcultures through technology threatens not only ideological contamination, but elicits fears of biological contagions as well.

Tracy Jamison Wood in the final stages of writing my dissertation in the classics department.  I have a BA from Baylor University in Waco, Texas and a MA from the University of Kansas — both in classics.  Currently, I’m searching for funding and jobs, TAing,and trying to finish my degree.  My dissertation discusses the complex intertextual relationship between the heroines of Ovid and Euripides — 1st c. AD Roman love poetry and 5th c. BC Greek tragedy.

Abstract:

Early on in Euripides’ Hippolytus, Phaedra expresses a desire to go hunting in the nearby wild country of Troezen (215-222).  This passage has typically been read by scholars as an indication of her madness (Barrett’s 1964 Hippolytus commentary and Halleran’s Euripides. Hippolytus with Introduction, Translation and Commentary, 1995), though Hanna  Roisman in her 1999 book Nothing Is As It Seems.  The Tragedy of the Implicit in Euripides’ Hippolytus has indicated that her statement may be a ruse for madness and that her rhetoric indicates that she is in full control of her faculties (50-1).  I agree with Roisman that Phaedra is not mad but that her wish to hunt the wild beasts of Hippolytus’ realm is a code for her wish to hunt down and eventually tame Hippolytus himself.

The rhetoric of rape, hunting, and taming often goes hand in hand in ancient literature.  As early as Archilochus, the poet-lover is hunting down a young girl, whom he compares to a filly in need of taming in the Cologne Fragment.  Though he does not take the young girl’s virginity, she does essentially rape her in his attempt to subdue or tame her.  In fragments F428 and F434 of the first Hippolytus play of Euripides (Halleran, 1995) as well as lines 955-7 in the extant play, the comments made suggest that those who hunt down Cypris too much are just as sick as those who shun her completely.  Halleran suggests that the verb θηρευεῖν has a connotation linked to sexual activity or even rape (34).  Phaedra wishes to hunt with and for Hippolytus, suggesting her desire for a sexual liaison with him.  Chaste Hippolytus, on the other hand, hunts in the meadows and the otherwise wild realms of Artemis – a quintessential locale for the rape of a maiden (usually).

The connection between hunting, sex, and taming is actually made within the play in the choral ode just before the Nurse is rebuked by Hippolytus.  The second strophe discusses Iole, who is compared to a wild filly, since she is not married and hence does not know of men or sexual activities.  She, like Hippolytus, is hunted down – Iole by Heracles and Hippolytus by Phaedra.  In comparing this example to the play as a whole, we have two role reversals: not only does the creature in need of taming usually refer to a female, but the role of the breaker of animals usually is traditionally held by a man.  Phaedra, however, is more aggressive than most women in tragedy, even in her more subdued role in Euripides’ second Hippolytus.  She is, after all, the play-thing of Aphrodite, who favors the taming of the wild through sex rather than the wild itself, like her nemesis, Artemis.  Although she does not actually join a hunting party, she does nonetheless wish to tame Hippolytus’ wild ways, which she intends to achieve by means of sex.  Like Enkidu in the Gilgamesh epic, who no longer can commune with the animals as he did before he was “domesticated” by sex, Hippolytus, too, would ostensibly be “tamed” by the act of sex.

Matthew Driscoll is a first year Master’s student in the East Asian Language and Cultural Studies department, focusing on modern Japanese literature. He completed his undergraduate degree at University of California - Santa Barbara and lived for five months in Kyoto, where he developed an interest in contemporary authors and Japanese culture. His interests include Japanese religion, sociology, and postcolonial currents in Japanese thought.

Abstract:

Recent American critical scholarship on Murakami Haruki, one of the foremost contemporary Japanese authors as well as an internationally critically acclaimed author, has tended to overwhelmingly label him as a ?postmodernist.? He is the forerunner, along with Yoshimoto Banana and Murakami Ryu, two other bestselling Japanese novelists, of a new popular brand of literature that crosses boundaries between popular and ?serious? literature, as defined by Japanese cultural critics such as Oe Kenzaburo and Karatani Kojin. However, Murakami?s fiction can be seen to have undergone a gradual reverse shift from postmodern to modern, particularly in terms of conception of ?self,? the practice of social engagement, and the assignation, and destruction, of meaning. I look at and periodize four of his works, A Wild Sheep Chase, Underground, The Wind Up Bird Chronicle, and Kafka on the Shore. A Wild Sheep Chase constitutes the first ?postmodern? phase of his writing, Underground and The Wind Up Bird Chronicle the transitional period, and Kafka on the Shore as the most ?modern? of his works. By approaching his work in this manner, I also briefly critique the use of postmodern as the overcoming, or break with, modern conceptions of literature, through Murakami?s oeuvre.

Judith Hicks is a third-year (pre-ABD) graduate student in the English Department at UCSB. I.  She is interested in Joyce, 20th century Anglophone literatures, modernist crowds and multitudes, Anglo-Irish and European modernism, material culture, gender, critical theory, literature and mind, narrative theory and poetics, environmental criticism, literature and music.

Abstract:

During the 1920s and 1930s, Anglophone modernist poetics fashioned the natural world as more than a source of stimulating metaphors, or a nostalgic setting premised antagonistically to the anomie of the metropolis; rather, it is carefully positioned as a central problematic of the modern aesthetical Zeitgeist. Take, for example, the violation of literary conventions presented by the problem of movement: in older literatures there are clear green-world movements, sequential and in accord with the logic of the work, from the city or court to the green world and back again, but in The Waste Land or Djuna Barnes’ Nightwood the two places lie promiscuously entwined. A different enigma arises from the critical readings that figure nature in canonical modernist works so variously, whether as hostile in novel ways, or as a potential (even if underutilized) source of nurture. This conspicuous interpretative divergence arises because modernist nature seems outside the sublime/cultivated binary that dominated poetics in the nineteenth century; in this paper, I demonstrate the poetic moves by which modernist nature operates instead as a breaching force that explodes artistic illusion and readerly comfort in a series of confrontational anti-mimetic pulses, exceeding the boundaries of the representable. Taking advantage of the contingency that put these two writers in historical alignment long enough to achieve the publication of Nightwood, I examine, in Eliot’s poem and Barnes’ “poetic” novel, the development of techniques that reveal intuited discontinuities underlying conventional pattern recognition, a fragmented but powerful chaos or white noise that forces a quasi-auratic aesthetic distance and produces a new and highly unstable relation of the social to the nonhuman

Matthew Mewhinney is a second-year M.A. candidate in East Asian Languages and Cultural Studies at the University of California, Santa Barbara.  He is interested in Japanese colonial literature and its relationship to modernism, as well as other post-Meiji Japanese literary genres.  His interests extend to Japanese linguistics, the history of Chinese orthography, literary theory and language pedagogy.  He spends his spare time with a knife and cutting board, pretending to be a sushi chef.

Abstract:

As many Japanese writers toiled with cultural displacement in an effort to embrace Western modernization after the Meiji Restoration (1868), we find other writers in the Japanese empire who also struggled with modernity.  During the Japanese Occupation of Taiwan (1895-1945), intellectuals from Taiwan traveled to Japan and subsequently returned to find their home in flux.  In their writings, these intellectuals began to articulate feelings of ambivalence toward their cultural identity and a rapidly modernizing Taiwan. In this paper, I borrow Mikhail Bakhtin’s “chronotope in the novel” as a lens to explore “colonial time” and “modern space” in two short stories.  I highlight forms of “colonial chronotopes” in Weng Nao’s “Remaining Snow” (1935) and Zhou Jinpo’s “Nostalgia” (1943)—both of which are written originally in Japanese.  Both works employ tropes of modernism found in post-Meiji Japanese literature.  They also discuss the discovery of “self” and its place in an ambivalent and heteroglossic modernity. My goal in this analysis is twofold: First, I argue that these two narratives raise important questions regarding Taiwanese modernity, as they both engage dialogically with colonial time and space in colonized Taiwan.  Second, I argue that these short stories can serve as a peripheral lens to examine the discontinuities in the canon of modern Japanese literature, and may help elucidate the intricate dynamics of Japanese modernity.  (224)

Past Colloquia

Fall 2008

Christina Cheng, Comparative Literature, “Homoerotic Desires in Tsai Ming-Ling’s The River.”

Quynh Nhu T. Le, English, “ The Future of Asian American Studies in Karen Tei Yamashita’s Through the Arc of the Rain Forest.”

Christopher Lee, Comparative Literature,  ”Telegrammatology: Telegraphy as Figure of Unmourning in August Strindberg?s The Dance of Death.”

Erik Eppel, Comparative Literature, “Spectral Technics, or, Ge-stell and the Specters of the Spectrum.”

Spring 2008

Jennifer Caldwell, Theater and Dance, “Wigs, Props, and ‘Authentic’ Voice: Navigating the Historiography of World War II Soldier Shows.”

Elizabeth Lagresa, Comparative Literature, “Imaginary Women: Helen and the Rebirth of the Errant Wife/Mother Archetype in the Twentieth Century.”

Allison Schifani, Comparative Literature, “Mobile Technology: The Institute for Applied Autonomy and Resistance in the City.”

Lily Wong, Comparative Literature, “Interpenetrating Temporalities: The Death of a Prostitute in a Time of Globalism.”

Winter 2008

Xiao Che, Theater, “Call from the Depth of History — Searching for Roots in ‘Sangshuping Chronicles.’”

Brandon Fastman, English, “Global Horses and Posthuman Indians: A Promiscuous Reading of Black Elk Speaks.”

David Platzer, Comparative Literature, “Onitsha Market Literature and Nollywood; Hybrid Histories and Global Forms.”

Liberty Stanvage, English, “The Power of the Fixed Text?: Competing Functions, The Struggle for Authority, and the Nature of Textuality in the York Register.”

Ryan Boyd (English) “Wear Your Sombrero: Wallace Stevens’ Intuitive Poetics.”

Judith Hicks (English) “Losing Terror in Familiarity: Affect, Community and Flourishing in Mary Austin’s The Land of Little Rain.”

Tracy Jamison Wood (Classics) “‘The Best Imitation of Myself’: Helen and her Artistic Streak.”

Jessica Murphy (English) “‘Of the sicke virgin’: Britomart and the Man in the Mirror.”

Fall 2007

Colin Carman (English Department) “In the Eye of Sane Philosophy”: Percy Shelley, Homophobia, England in 1810.”

Susan Cook (English) “The Other of Incorporation: Sadomasochism and the Colonial Scene.”

Sören Hammerschmidt (English) “A Life in Transit: Travel, Maternity, and the Progress of Civilisation in Mary Wollstonecraft’s Letters Written during a Short Residence.”

Christina Cheng (Comparative Literature) “Barbadian Culture Through the Memory of Food in Austin Clarke’s ‘Bakes’ and ‘Smoked Ham Hocks with Lima Beans’”

Jessica O’Keefe (Theater and Dance) “Transgender Theatre: Rethinking Essentialism”

Spring 2007

Kim Knight (English) “Looking Over One’s Shoulder: Nineteenth-Century Secters in Twentieth Century Contexts”

Torsten Sannar (Dramatic Arts) “Appropriating Brecht in the African Postcolony: Soyinka’s Opera Wonyosi and the Junction Avenue Theatre Company’s Love, Crime, and Johannesburg”

Marthine Satris (English) “Paper Spaces and Spatial Places”

Tracy Jamison (Classics): “Euripides’ Elegiac Helen”

Winter 2007

Brandon Fastman (English) “Animal Documentary: A War On Terror”

Carol Fischer (Dramatic Arts) “Trans-Absurdism: The Transculturating of Absurdism in Griselda Gambaro’s Drama”

James Fujitani (French) “Pierre de Ronsard and the Humanization of Inspiration”

Rachel Mann (English): “‘Let me know my fate’: Mary Crawford as (Anti)Heroine of Mansfield Park“

Danielle Lafrance (Comparative Literature) “Fronteriza Identity in  Leonor Villegas and Jovita Gonzalez”

Martin Rosenstock (German Department) “Rendezvous with Halley’s  Comet – Ernst Jünger’s Voyage through the Twentieth Century”

Haley O’neil (Spanish Department) “Primitivism, Insularism, and the Revision of Cubanidad in Virgilio Pinera’s La isla en peso“

Eric Martinsen (English Department) “Haunted Histories and Global  Futures in Morales and Ghosh”

Fall 2006

Anne Marcoline (Comparative Literature) “Valéry’s _My Faust_: Staging Conflicts“

Judith A. Hicks (English) “Losing Neverland: The Homes that Colonized Women Imagine from Homer’s Calypso to Rhys’ Antoinette“

Xiao Che (Dramatic Arts) “Dionysus: The Ambiguous God”

Mac Oliver (English) “Gates & Leaves: Plotting the Dead in Absalom, Absalom! In Light of the Aeneid“

Simone Chess (English) ”Where’s your Jonson?: Male to Female Crossdressing in Ben Jonson’s ‘Epicoene’ and ‘The Devil is an Ass’”

Nanette Pawelek (Comparative Literature) ”Remediation and Abuses of Memory: Mein Kampf, from Orality to National Epic”

Edward (Mac) Test (English) ”The Tempest and The Newfoundland Cod Fishery”

Maggie Sloan (English) ”‘Come, listen to my plaintive ditty’: the Rhetoric of Sentiment, Sensibility, and Abolition in Amelia Opie’s ‘Black Man’s Lament’ and Adeline Mowbray”

Winter 2006

Tracy Jamison (Classics) ”(Fe)Male Dionysus: the False Dichotomy of Gender in Euripidean Theatre”

Douglas Hong (English)  ”Paying Offences: Intersections in the Political Experiences Of Native-and Japanese-Americans in the 1940s and 1950s”

Beth Wynstra (Dramatic Arts)  ”The Living Theatre: Directing Against the Revolution”

Susan Cook (English)  ”‘…no true home…’: Displacement, Nationality, and Lucy Snowe’s Villette”

Nathan Henne (Comp Lit) ”Filtering K’iche’ Poetics: Anthropology and the Popol Vuh as Literature”

Laura Miller (English) ”Public Tears for the ‘Already written’ Mind in Pope’s ‘Eloisa to Abelard’”

Lisa Swanstrom (Comp Lit) ”SoftBot, Knowbot, WebBot, or No-bot? How the Robot Lost Its Body in the Age of Information”

Ben Shockey (English) ”Architecture, Space, and the Production of Gay Subjectivity in Alan Hollinghurst’s The Swimming-Pool Library“

Fall 2005

Suk-Young Kim (Dramatic Art) ”Springtime for Kim Il-sung in Pyongyang: Pyongyang on Stage, Pyongyang as Stage”

Jeremy Douglass (English) ”Benchmark Fiction: A Framework for Comparative New Media Studies”

Jessica Elise O’Keefe (Dramatic Art) ”Transgender Perspectives: Exposing Heteronormativity as a Construct through Alternative Family and Coming of Age Narratives”

Sarah McLemore (English) ”Dynamite Terror and the Textual Landscape of London”

Billy Hall (English) ”The Specter of Eighteen-Century Aesthetics in Paul de Man’s Haunting of Theory”

Kieran Murphy (Comparative Literature) ”Magnetic Realism: The Influence of Animal Magnetism and Somnambulism in Balzac’s La Comédie Humaine“

Heidi Brevik (French - Brown Univ.) ”C’est Pourri de Chic: The Fashion of Modernity in Emile Zola’s Nana“

David Roh (English) ”Benjamin’s Aura in the 21st Century: The Printing Press, Copyright Law, and the Death of Creativity”

Past Years

Glenna Berry-Horton (Portuguese) ”Two Unreliable and Outrageous Narrators”

Elizabeth Freudenthal (English) ”Beyond Irony: A Negative Space of Identity”

Chris K. Lee (Comparative Literature) ”Patterns of Childhood as a Novel Invested in the Double Movement of Owning and Disowning the Past (and the Present)”

Kris McAbee (English) ”Self-Substantial Fuel: Reflections of Narcissus and Echo in William Shakespeare’s Sonnets”

Randall Pogorzelski (Comparative Literature) ”A Failure to Communicate in Aeneid Six“

Jenna Reinbold (Religious Studies) ”The Free Individual and Fundamentalist Islam”

Ronald Smith (Dramatic Arts) ”Rehearsing for Revolution in Taiwan: Is Augusto Boal a Magical Realist?”

Jacob Berman (English) ”Captive Identity: Images of Barbary and Ante Bellum American Identity Politics”

Julianne Cordero (Religious Studies) ”The Gathering of Traditions: The Reciprocal Alliance of History, Ecology, Health, and Community among the Contemporary Chumash”

Didier Maleuvre (French & Italian) ”Against Culture: A Moral Portrait of Relativism”