Friday, July 2, 2010

*Iconoclasm: The Breaking and Making of Images

*Iconoclasm: The Breaking and Making of Images
University of Toronto, March 17–19, 2011
Keynote Address by Carol Mavor (Manchester) (others to be confirmed)*

The 22nd annual conference of the Centre for Comparative Literature
at the University of Toronto in March 2011 will focus on the idea of
Iconoclasm, the breaking of images and the making of icons.
The word “iconoclasm” is weighted with a long history of religious
significance, from the Byzantine war on religious icons of the 8th-
and 9th-centuries and the Protestant reformation in the 16th century,
to the Taliban’s destruction of the Buddhas of Bamyan in the 21st
century. But the idea of destroying or defacing images, especially
images that convey aspects of cultural dominance or, conversely, pose
a threat to that dominance, is as often political as religious: think
of the Chinese Cultural Revolution or graffiti moustaches. Political
iconoclasm, unlike religious iconoclasm, does not object to
representation as such but rather to certain images that have been
granted the status of icons. However, any act of desecrating symbols
of authority itself often takes on iconic status: take, for example,
photos of the pulling down of statues from Romania to Iraq.
Iconoclasm need not be visual and material and can also take abstract
and intellectual forms. Subversive, transgressive, blasphemous
writing is also iconoclastic in inspiration and function. Moreover,
the power associated with images in general and iconic images in
particular has often inspired writers to subdue the power of images
or to wrest it for themselves. The ekphrastic contest between
literature, or verbal representation, and images, or visual
representation, is very often iconoclastic in nature.
Contemporary media culture floods us with images and alters their
impact, creating ever more sophisticated organized cults around them,
such as celebrity, high art, advertising, the news, etc. Just as the
word “icon” has acquired new meanings, ranging from signs for
computer applications to logos and celebrity, so, too, iconoclasm,
the urge to deface, destroy, or alter images, takes on wholly new
We wish to examine a wide range of iconoclastic moments in order to
understand the political, ethical, and aesthetic stakes involved in
challenging the signifying power of the iconic image. Is there a
tradition of iconoclasm or is the modern icon and thus modern
iconoclasm something new? Is iconoclasm even possible, or does it
always participate in the forces of iconicity, creating, in effect,
iconoclastic icons? Subjects that are of interest to us include but
are in no way limited to:
— Classical/Antiquity (pre-5th century CE)
o Idol Worship and Biblical Images
o Mythology: Symbols, Images of Gods, Heroes, etc.
o Epic Narratives and the Performance of Lyric Poetry
o Ekphrastic imaginings
— Medieval (5th–15th centuries)
o Theories of the Imagination and Images; representations of other worlds
o Sight/Insight
o Iconography; religious iconoclasms and iconoclasts
o Mystery/Miracle plays
— Early Modern (15th–17th centuries)
o The Politics of Appropriation, Assimilation, Domination in Conquest
and Colonial documents
o Man and his God: The Vatican; The Reformation; the Council of Trent;
o Staging the World: early modern drama
o Iconic Genres: The “invention” of the Novel; Poetry and the
re-telling of myth and religion
— 18th and 19th centuries
o Innovations in Media and Technology
o Ignitions of the Enlightenment
o The rise of Decolonisation and Postcolonialism
o The turn to Revolution, the pull of Evolution
o The Gothic, the Sublime, and Romance
— 20th century to present:
o Iconoclastic genres: The reinvention of the novel (re-imagining the
novel-as-icon); Poetry’s Image/Imagination (Dadaism, Futurism,
Concrete Poetry, etc.)
o Magical Realism, Surrealism, Realism, the Fantastic
o Iconography, Fetish Images, Pop Culture, Film
o Trauma, Terrorism, Disasters, Ruins
o Icons in the Digital Age
— Theoretical Concerns
o Negative Dialectics; the question of the Negative
o The Epistemology of the Iconic Closet: Queer Icons and the
Reinvention of Tradition
o Moving through and beyond Ekphrasis
o Benjaminian Auras
o Unstaging the World: “poor theatre”; “theatre of cruelty”; “holy
theatre”; postdramatic performance art; Theatre of the Opressed, etc.

Please submit abstracts of no more than 250 words by September 10,
2010 to .
Include full name, email, affiliation, status (student, faculty,
independent scholar), a 50-word bio, and AV requirements.

Please check our website for updates:

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