115th Annual Conference - Honolulu, Hawaii
Friday, November 10 - Sunday, November 12, 2017

Critical Theory

Session Chair: 
John Namjun Kim, UC Riverside
Session 4: Friday 3 – 4:30 pm
Henry 227
Topic Area: 


  1. Jared Gee, University of California, Riverside
    The Falling Man photograph from September 11, 2001 persists today as the result of the multiple ruptures it enacts upon subjectivity and the inheritance of thought in the West. By reading the metaphorics of suicide and war (now based on “security”) with and sometimes against Saint Augustine, Judith Butler, and Jacques Derrida, the paper argues that the persistence of the image lies in its inability to be adequately inserted into the political-theological system in the U.S.
  2. Leslie Lopez, "University of Hawai'i, West O'ahu, Center for Labor Education and Research"
    In this presentation, I examine Adolph Reed Jr.'s and Slavoj Žižek's discussions of the films They Live and Idiocracy as works of neoliberal parody examining anti-intellectualism. I then relate the films to snapshots of situational awareness in the automation of war and work, ending with current trends in visualized student/faculty production and workloads using predictive analytics.
  3. Tim Luther, California Baptist University
    Habermas finds that power and money have colonized the lifeworld. Language, in its function of coordinating action, is replaced by money and power. There is a direct connection between rationality and liberation, between autonomous responsibility and knowledge. This paper describes and assesses Habermas’s criticisms and reconstruction of the critical theory of Horkheimer and Adorno.
  4. Barry Sarchett, Colorado College
    The recent skepticism directed against the political ambitions and claims of  “critique” in cultural studies, historicist, and materialist approaches has occasioned reconsiderations of aesthetic value and close reading.  This paper analyzes Laura Mulvey’s 1972 article “Visual Pleasure and Narrative Cinema” in order to claim that political critique of pleasure is necessarily constituted by the very aesthetic impulses it seeks to exclude.
Session Cancelled: