Monthly Archives: June 2016

University of Wisconsin-Madison

A friend writes on this article:

Let me see if I understand. This state university is essentially becoming a for-profit academy. They can’t afford not to spend the money to keep the grant winners. Of course, that money spent to keep grants is public money being spent primarily to make money, not to educate. So that is the university as investment house. Research and learning are not really the point. Dollars drive knowledge, what gets to be known and what gets to reproduce its institutional status. The only legitimate use of public dollars is to make money. There is no public good beyond that to be served by higher education as such. That is the narrative in force right now and it is highly of cynical, especially given its power among nativists and a majority of voters.

Not enough people see the long term benefits of higher learning across the fields of knowledge and we are at that place where there is too little public support for knowledge that is critical or not supportive of commonplace understanding. The collapse of public faith in the inherent benefits of public higher education, while largely attributable to the activities of the Right since 1981, must be attributable too to some lack on the part of faculty. We and our immediate forebears witnessed these problems rising (adjunctification, exploding administrative ranks, corporatization, inability to engage in public rhetoric) and did too little to abort them. Now perhaps I expect too much. A small subsystem cannot control the whole. But I cannot escape the sense that too many faculty members abandoned the public and their students, because little of the market fundamentalist agenda is good for either the public or our students.

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Viaje hacia la noche

This is an interesting video on a surrealist poet, that I still have to watch.

Viaje Hacia la Noche from Realidad Visual on Vimeo.

Moro.

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Los Super Seven

It is the weekend, so we will sing! Here is a version of “Plane wreck at Los Gatos” I had not heard before.

It is a very important song by Woody Guthrie, sung here by an important tejano group. The norteño accordeon comes in around 0:47 and surprised me with its combination of appropriateness and ostranenie. Woody sings the song as Woody sings, but the speaker in the song is Mexican-American.

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Nation versus state, and postnationalism

I am not convinced we are really postnational yet. And I am behind the times, so I should read this old piece.

The term ‘post–nationalism’ has been proposed to designate the emergence of political bodies in the wake of economic globalisation. However, not only is the ‘post–national landscape’ strongly redolent of nationalism, but nations themselves continue to correlate with the political subject in ways that cannot be dismissed. In Spanish political debates the notion of ‘post–nationalism’ has been deployed along with the concept of ‘patriotism of the constitution’, vulgarising their original philosophical use. In this context both terms do ideological duty against the peripheral nationalities in an effort to relegitimise the centralised control of the state. In this article I ‘deconstruct’ the self–serving duality between ‘constitutionalists’ and ‘nationalists’ by showing that traditional state nationalism overlaps with the ‘constitutionalist’ position. Subsequently, I consider whether some form of Habermasian detachment of nation from state can be contemplated for Spain.

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Floating water world

This is very interesting.

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For this prize I need

1. The application coversheet, with all items completed:
  • A one- to two-page, single-spaced statement outlining the work and describing its importance.
  • A biography and bibliography of the author, including information on translations of his or her work into other languages.
  • A CV of the translator, no longer than three pages.
  • If the book is not in the public domain and the project is not yet under contract, please include a photocopy of the copyright noticeon the original (the copyright notice is a line including the character ©, a date, and the name of the copyright holder, which appears as part of the front matter in every book), and a letter from the copyright holder stating that English-language rights to the book are available.
  • If the translation is currently under contract with a publisher, please submit a copy of the contract.
2. A 10–12-page, single-spaced sample of the translation.
3. The same passage in the original language (and, if the work has been previously translated, the same passage in the earlier version).

 

2017 PEN/Heim Translation Fund Cover Sheet

Please fill in the necessary information below and upload this form to your online submission form.

  1. Project Summary

Translator’s name:

Address:

Phone Number:

E-mail address:

Title of project (in English):

Original author:

Language translated from:

Author’s nationality:

Genre:

Time period in which the original work was written:

Length of project (projected page count):

Brief description of project (no more than three lines):

  1. Project Details (Please complete fields 1-7 below)

  1. Has this project received any prior funding (grants, stipends, advances from publishers, etc.)?

If so, please list all sources of funding.

  1. Has this work previously been published in English? If so, list all previous translations of the work in English, and include copies of the sample passage from the previous translations with the application, as well as a statement describing the egregious flaws in the previous versions.

  1. How far along in the publication process is the project? Does the project have a publisher? If so, what is the name of the publisher and expected publication date? *If there is a publisher, please include a copy of the contract with the application.

4. Please outline the work and describe its importance in a one- to two-page, single-spaced statement:

5. Include a biography and bibliography of the author, including information on translations of his or her work into other languages:

6. Please include the CV of the translator, no longer than three pages.

7. If the book is not in the public domain and the project is not yet under contract, please include a photocopy of the copyright notice on the original (the copyright notice is a line including the character ©, a date, and the name of the copyright holder, which appears as part of the front matter in every book), and a letter from the copyright holder stating that English-language rights to the book are available.

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A route to Angola for August

Go to Opelousas then take US 190 east toward Baton Rouge. After you cross the spillway bridge on the other side of Krotz Springs, take a left on LA 81. Follow it for 3-4 miles and make a left on LA 77 (it’s a T intersection). It’s 17 miles from Lottie to Morganza. At Morganza, take LA 1 East. New Roads is about 10 miles from Morganza. LA 10 (the road to the bridge) intersects LA 1 just before you reach New Roads; it’s a left curve. It’s about 12 miles from the intersection of LA 10 to the intersection with US 61 just south of St. Francisville. Nice rural drive.

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