![]() Standing Committees are small groups of senators or delegates assigned to study bills involving a particular subject. When the bill is formally introduced on the floor of the chamber, the bill number and the committee reference(s) are announced. ![]() This number is used as a reference for the bill throughout the legislative session.Īfter the bill is numbered, the President of the Senate or the Speaker of the House of Delegates assigns the bill to a committee or committees to be considered. ![]() Prior to introduction, the clerk identifies each bill with a separate number. After the draft legislation is prepared, the legislator reviews it and submits it for introduction to the clerk of the chamber of which he or she is a member. To draft a bill on a particular subject, the appropriate portion(s) of West Virginia law are combined with the proposed changes. In the House, the number of sponsors of a bill or a constitutional amendment is limited to eleven while the Senate has no limit on sponsorship.īills may go through the Office of Legislative Services or legislative staff counsel to assure that they are in proper bill form. But all bills must be sponsored by one or more legislators to be considered by the Legislature. The British Library and the Tate Modern will provide us with intimate access to literary and visual texts, and we will talk with contemporary writers about the cultural legacy of this coterie.To request copies of the West Virginia Legislature's “A Bill Becomes Law” brochure, please contact one of our Public Information Officers.Īnyone can propose an idea for a bill to a legislator - a private citizen, corporation, professional association, special interest group or even a governmental unit. This engagement will unfold through different analytics (formalist, psychoanalytic, materialist), and with sustained recognition of two Bloomsbury institutions-the short-lived Omega Workshops, and the enduring Hogarth Press. Taking advantage of our particular location in London (the neighborhood in which the group lived, met, wrote, and painted), this course will provide the opportunity to engage a broad spectrum of Bloomsbury work: the essays and fiction of Virginia Woolf the art of Venessa Bell, Duncan Grant, and Roger Fry the macroeconomics of John Maynard Keynes. Currently I’m at work on a project called “Re-Assemblage,” which asks how assemblage practices (across the literary, visual, and plastic arts) might contribute to assemblage theory in the social sciences.Ī controversial art exhibition organized by Roger Fry, “Manet and the Post-Impressionists,” provoked Virginia Woolf to write that “on or about December 1910 human character changed.” The Bloomsbury Group, renowned for its role in vilifying Victorian culture and promoting English modernism, was no less famous for its own efforts to change human character: for its unprecedented understanding of aesthetics, economics, social politics, and sexuality. This is a new materialism within which the thingness of an object cannot be abstracted from the fields of culture and history. ![]() Dislodging the object-thing distinction from fundamental ontology (Heidegger) and from psychoanalysis (Lacan), I use it as a toolfor apprehending the unanticipated force of an object, however banal that object may be. Dick, Shawn Wong Man Ray, Spike Lee, Dan Flavin, Brian Jungen. InOther Things-focusing such analysis through ‘The Matter of Modernism,’ ‘Unhuman History,’ and ‘Kitsch Kulchur’-I engage a very wide range of work: Bergson, Bachelard, Arendt, Latour Homer, Virginia Woolf, Philip K. In a short piece called "Thing Theory," I began to point out how things and thingness might become new objects of critical analysis. More recently, I have worked at the intersection of literary, visual, and material cultures, with an emphasis on whatI call "object relations in an expanded field." I ask how inanimate objects enable human subjects (individually and collectively) to form and transform themselves-and indeed how objects and subjects transform one another. In other words, I believe that the act of literary analysis (including formal analysis) can become an historiographical operation all its own. ![]() Rather than assuming that historical contexts explain a particular literary text, I assume that literature provides access to an otherwise irrecuperable history. science fiction, the Western), on recreational forms (baseball, kung fu), and on the ways that mass-cultural phenomena (from roller coasters to Kodak cameras) impress themselves on the literary imagination. In the past, my research has focused on popular literary genres (e.g. ![]()
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