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DTSTART;TZID=America/New_York:20181004T080000
DTEND;TZID=America/New_York:20190118T160000
DTSTAMP:20181116T215517Z
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SUMMARY:CIT.I.ZEN.SHIP: REFLECTIONS ON RIGHTS
DESCRIPTION:October 4\, 2018 – January 18\, 2019\nDepartment of Photography & Imaging Galleries\nNYU Tisch School of the Arts\n721 Broadway Lobby & 8th floor\n\nLorie Novak and Deborah Willis\, Ph.D.\, curators\nRiana Gideon\, assistant curator\n  \nTo accept one’s past — one’s history is not the same thing as drowning in it; it is learning how to use it. An invented past can never be used; it cracks and crumbles under the pressures of life like clay in a season of drought.  –James Baldwin\, The Fire Next Time \n  \nThe Department of Photography & Imaging at NYU Tisch School of the Arts in collaboration with For Freedoms’ 50 State Initiative presents cit.i.zen.ship: reflections on rights\, an exhibition featuring photographs\, works on paper\, writings\, and video that reflect on human rights and notions of citizenship. The theme of the exhibition reminds us that our actions today will affect the future\, just as the actions of courageous individuals during the Civil Rights Movement changed the world. Conceptually and characteristically\, each of the artists uses different symbolic references to visually represent definable issues surrounding civil rights\, resistance\, immigration\, race\, class\, gentrification\, gender equality\, LGBTQ+ rights\, prison reform\, freedom of speech\, environmental issues\, and more. They use documentation\, process\, history\, and personal experience to engage the politics of this nation and pave the way for future narratives. \nThis exhibition is part of For Freedoms’ 50 State Initiative\, a non-partisan\, nationwide campaign to use art as a means of inspiring civic participation in advance of the 2018 midterm elections. For Freedoms was founded by artists in 2016 as a platform for civic engagement\, discourse\, and direct action in the United States. Inspired by Norman Rockwell’s 1943 paintings of the four universal freedoms articulated by Franklin Delano Roosevelt in 1941—freedom of speech\, freedom of worship\, freedom from want\, and freedom from fear—For Freedoms uses art to deepen public discussions of civic issues and core values\, and to clarify that citizenship in American society is dependent on participation\, not ideology. \nThe artwork included in this exhibition shares For Freedoms’ conviction that people shape the cultural systems that shape their lives—from politics to art\, from advertising to civic life. We believe that citizenship is defined by the creative use of one’s voice\, one’s body\, one’s mind\, and\, ultimately\, one’s vote. The 50 State Initiative is the largest creative collaboration in the history of this country\, and we want everyone to get involved. For Freedoms’ 200+ institutional partners are bringing together artists and community leaders across the country through exhibitions\, town hall meetings\, and public billboard projects. These collective activities inject creativity\, critical thinking\, and an uplifted multiplicity of voices into our public conversation. Together\, we can blur the line between artistic and political discourse to create an open and nuanced national dialogue in a partisan climate. \nArtists\nJack Adam • Aaron Adams • Gregory Michael Alders • Bridgette Auger/Itab Azzam • Perry Bard/Richard Sullivan • Laylah Amatullah Barrayn • Alexandra Bell • Cydney Blitzer • Terry E. Boddie • Masha Bordovskikh • Sheila Pree Bright • Zoe Buckman • Katherine Spencer Carey • Community Heroes\, NYC: (Jasmin Chang\, Zac Martin\, and Ivan Valladares) • Emily Contreras • Jennifer Ling Datchuk • Damien Davis • Rose DeSiano • Claire Dorfman • Adama Delphine Fawundu • Lola Flash • Marcela A. Fuentes/Flavia Sparacino • Bill Gaskins • Michael George • Riana Gideon • Eric Gottesman • Mohammed Amir Hamza • Eric Hart Jr. • Chester Higgins • Grace Hinchen • Stephen Hunt • Jessica Ingram • Tailyr Irvine • Deborah Jack • Veronica Jackson • Monique Jaques • Mark Jenkinson • Philomene Joseph • Ed Kashi • Nick Kline • Lili Kobielski • LigoranoReese • William Martin III • Tess Mayer • Isa Mejía • Editha Mesina • Diane Meyer • Marilyn Montufar • Nancy Newberry • Mary Notari • Ademola Olugebefola • Jayson Overby • Gordon Parks • Shina Peng • Stephen Perloff • Alice Proujansky • Zayira Ray • Jamie Schofield Riva • Joseph Rodriguez • Maria-Juliana Rojas • Bayeté Ross Smith • Griselda San Martin • Vicky Sanchez • Dakota Santiago • Ken Schles • Joey Solomon • David J. Spear • Grace Swierenga • Momo Takahashi • Diana Taylor • Hank Willis Thomas • Olga Ush • Katerina Voegtle • Julia Wang • Adrian White • Wendel White • Daniella Zalcman \nand High School Students from NYU Tisch Future Imagemakers; Bronx Documentary Center Junior Photo League; Benito Juarez Academy High School\, Chicago; ICP Teen Academy; Lower East Side Girls Club; Our Community Record\, Two Eagle River School\, Flathead Nation\, Montana; Red Hook Reporters\, Brooklyn; Reel Works and others from across the United States. \nOur thanks to For Freedoms and The NYU Institute of African American Affairs and Center for Black Visual Culture. \n\n#forfreedoms #citizenship #tischphoto #nyutisch\n\n\nGallery hours are 10 a.m. to 7 p.m. weekdays\, and noon to 5 p.m. Saturdays. Admission is free. Photo identification is required for access to the building. For more information\, visit https://tisch.nyu.edu/photo or call 212.998.1930. \n\n\nThe Department of Photography and Imaging at the Tisch School of the Arts is a four-year B.F.A. program centered on the making and understanding of images. Students explore photo-based imagery as personal and cultural expression. Situated within New York University\, the program offers students both the intensive focus of an arts curriculum and a serious and broad grounding in the liberal arts. \n\n\nFor Freedoms is a platform for greater participation in the arts and in civil society\, producing exhibitions\, installations\, public programs\, and billboard campaigns to advocate for inclusive civic participation. Inspired by American artist Norman Rockwell’s paintings of Franklin D. Roosevelt’s Four Freedoms (1941)—freedom of speech\, freedom of worship\, freedom from want\, and freedom from fear— For Freedoms Federation uses art to encourage and deepen public explorations of freedom in the 21st century. Founded by Hank Willis Thomas and Eric Gottesman\, For Freedoms Federation encourages new forms of critical discourse. The mission is to use art as a vehicle to build greater participation in American Democracy.
URL:https://csaad.nyu.edu/event/cit-i-zen-ship-reflections-on-rights/
LOCATION:Department of Photography\, 721 Broadway\, 8th Floor\, New York\, NY\, 10003\, United States
ORGANIZER;CN="Department of Photography and Imaging at the Tish School of the Arts":MAILTO:tischphoto@nyu.edu
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181116T170000
DTEND;TZID=America/New_York:20181116T190000
DTSTAMP:20181117T001743Z
CREATED:20181117T001743Z
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SUMMARY:Book Talk: "The Chief Eunuch of the Ottoman Harem" Jane Hathaway
DESCRIPTION:Abstract: \nEunuchs were a common feature of pre- and early modern societies that are now poorly understood. Here\, Jane Hathaway offers an in-depth study of the chief of the African eunuchs who guarded the harem of the Ottoman Empire. A wide range of primary sources are used to analyze the Chief Eunuch’s origins in East Africa and his political\, economic\, and religious role from the inception of his office in the late sixteenth century through the dismantling of the palace harem in the early twentieth century. \n  \n\n\n\n\n\n\n\n\n\n\n\n\nHathaway highlights the origins of the institution and how the role of eunuchs developed in East Africa as well as exploring the Chief Eunuchs connections to Egypt and Medina. By tracing the evolution of the office\, we see how the Chief Eunuch’s functions changed in response to transformations in Ottoman society\, from the generalized crisis of the seventeenth century to the westernizing reforms of the nineteenth century.\n\nJane Hathaway (Arts & Sciences Distinguished Professor of History\, Ohio State University) is a specialist of the Ottoman empire. Her research has focused on the empire’s Arab provinces\, particularly Egypt and Yemen. She has recently been working on the Chief Eunuch of the Ottoman Imperial Harem. She received her Ph.D. from Princeton’s’ Near Eastern Studies Department in 1992. She is the author of The Politics of Household in Ottoman Egypt: The Rise of the Qazdaglis (Cambridge\, 1997)\, A Tale of Two Factions: Myth\, Memory\, and Identity in Ottoman Egypt and Yemen(SUNY Press\, 2003)\, Beshir Agha\, Chief Eunuch of the Ottoman Harem (Oneworld\, 2006)\, The Arab Lands under Ottoman Rule\, 1516-1800 (Pearson/Longman\, 2008)\, and The Chief Eunuch of the Ottoman Harem: From African Slave to Power-Broker (Cambridge\, 2018). \n\nThis book talk will also feature discussant Leslie Peirce (Emeritus\, NYU)\, whose writing and teaching focus on the Ottoman empire\, with an emphasis on the early modern period. Her first book explored the shifting nature of imperial politics by placing the palace harem at the center of inquiry. Other topics Peirce has written about include honor and sexuality\, provincial politics\, abduction and captivity\, and slavery and household formation. She recently published a biographical account of Hurrem\, the concubine and then wife to Suleyman I the Magnificent. \nCheck out the Facebook event here. \n\nThis event is co-sponsored by Ottoman & Turkish Studies (OTS) at NYU.
URL:https://csaad.nyu.edu/event/book-talk-the-chief-eunuch-of-the-ottoman-harem-jane-hathaway/
LOCATION:Hagop Kevorkian Center for Near Eastern Studies\, 255 Sullivan St.\, New York\, NY\, 10012\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181119T180000
DTEND;TZID=America/New_York:20181119T210000
DTSTAMP:20181116T221406Z
CREATED:20181116T221406Z
LAST-MODIFIED:20181116T221406Z
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SUMMARY:Latin America's 1968 - Marta Minuj´ín
DESCRIPTION:As part of the Latin America’s 1968 Colloquium series\, New York University’s Center for Latin American and Caribbean Studies (CLACS)\, Department of Spanish and Portuguese\, The Hemisphiric Institute of Performance and Politics\, and The Institute of Fine Arts (IFA)\, are proud to present a conversation with internationally acclaimed Argentine performance and conceptual artist Marta Minujín and IFA’s Deputy Director Edward Sullivan. \nThis event is free and open to the public. Ticket holders receive priority seating. \nAbout the speakers: \nMarta Minujín is an internationally acclaimed Argentine performance and conceptual artist whose career has helped define the role of participation\, performance\, and media in contemporary visual art. Minujín created her first “ephemeral” works in the 1960s in Paris and New York\, where she and became an innovator of pop art\, happenings\, soft sculpture\, and early video. Her celebrated La Menesunda (1965) created a sequence of 16 multi-sensory “situations” or environments for spectators to traverse; these included a beauty parlor\, a couple in bed\, and a shower of a confetti in an octagonal mirror chamber. Her 1967 Minuphone created an interactive “psychedelic” telephone booth in which voice triggered sensory changes in light\, image\, and sound. In May 1968—at the height of the cultural and political ferment of global 1968—Minujín hosted a series of soirèes/happenings with luminaries of fashion\, art\, finance\, and politics at Manhattan’s Center for Inter-American Relations (now Americas Society); the documentation became the basis of an immersive film installation\, known as Minucode\, which advanced a subtle critique of the role of “cultural” diplomacy needed to carry out the US cold war in Latin America. While in New York she participated in activities at Andy Warhol’s Factory\, and in the 1980s\, created a performance in which she offered Warhol a corn on the cob as a way of paying off Argentina’s foreign debt. She is perhaps best known for the 1983 piece The Parthenon of Books\, a large-scale replica of a Greek parthenon built on Buenos Aires’s main avenue\, comprised of 30\,000 books banned by the military regime during Argentina’s “Dirty War\,” including works by Marx\, Freud\, and Foucault. Spectators were then invited to dismantle work. She has continued to create works that combine ephemeral materials with monumental scale\, including Tower of Babel (2011)\, Agora of Peace (2013)\, and Hopscotch Art (2014). She lives and works in Buenos Aires. \nEdward J. Sullivan is the Helen Gould Sheppard Professor in the History of Art and the Deputy Director of the Institute of Fine Arts New York University. He has developed extensive research and curated several shows on the arts and visual cultures of the Americas from a transnational perspective\, with a particular concentration in Mexico\, Cuba\, Brazil\, Argentina\, Puerto Rico\, and Uruguay. Edward is the author of From San Juan to Paris and Back: Francisco Oller and Caribbean Art in the Era of Impressionism\, published by Yale University Press in 2014\, and The Language of Objects in the Art of the Americas\, published also by Yale in 2007\, among many other books and catalogs. \nSullivan’s latest book is entitled “Making the Americas Modern. Hemispheric Art 1910-1960” published this past March. He is currently curating a major exhibition of the Brazilian garden architect and painter Roberto Burle-Marx that opens in June next year at the New York Botanical Garden. His next book project concerns the relationships between artists and choreographers in the US and Latin America in the mid twentieth century. \nAbout the series: \nLatin America’s 1968; Curated by Jill Lane & Dylon Robbins. \nIn Latin America\, the year 1968 marked a turning point in the social\, political\, and cultural transformations that had been unfolding in the wide wake of the Cuban Revolution of 1959. For Latin America\, as for the rest of the world\, the sixties were shaped by geopolitics of the Cold War\, and of anti-colonial struggles across the globe. Yet they are most remembered by those who lived them as a time when ordinary people felt\, like never before and perhaps never after\, that they could change the course of history: millions of youth in student movements\, advocates for indigenous rights\, workers\, campesinos\, educators\, intellectuals\, and artists\, long with guerillas and other armed insurgents\, were self-aware in world-historical projects of radical social\, political\, economic\, and cultural change. In these years\, the personal became the political\, politics became theatrical\, theatre became a weapon\, and the lines between self\, art\, and politics were forever redrawn. To mark the 50th anniversary of this momentous year\, the Center for Latin American and Caribbean Studies (CLACS) offers a film and lecture series that will explore and celebrate its significance in the region. \nImage: Marta Minujin | by Martin Lucesole | Flickr
URL:https://csaad.nyu.edu/event/latin-americas-1968-marta-minujin/
LOCATION:Location: King Juan Carlos I of Spain Center Room 342E\, 53 Washington Square S\, New York\, NY\, 10012\, United States
ORGANIZER;CN="The Center for Latin American and Caribbean Studies (CLACS)":MAILTO:clacs@nyu.edu
GEO:40.7303742;-73.9986799
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181126T120000
DTEND;TZID=America/New_York:20181126T140000
DTSTAMP:20181017T190632Z
CREATED:20181017T190632Z
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SUMMARY:Lecture: Afro-Arab Relations: From the Common Struggle to the "New Scramble"
DESCRIPTION:Lecture with Rawia Tawfik\n  \nAbstract:\nIn the mid-twentieth century\, Arab and African countries waged a common struggle against colonialism and racial segregation. Arabs supported the liberation of African colonies and the isolation of apartheid South Africa. In their turn\, newly independent African countries showed solidarity with Arabs in their conflict against Israel. With international and regional transformations at the end of the century this collective mobilization for united action had faded away.  In the last decade\, Arab regional powers\, especially Gulf monarchies\, are making a strong comeback to the continent. From investing in various economic sectors to brokering peace between rival countries in the Horn of Africa\, Gulf countries are heavily investing in seizing the economic opportunities in the rising continent and bringing stability to their turbulent Eastern neighbors. This lecture traces the continuities and changes in Afro-Arab relations in the last six decades. It maps the actors\, interests and policies that shape the unfolding alliances and rivalries between and within the two regions. It questions whether the renewed interest of Arab regional powers in Africa is an asset for Africa’s peace and development or part and parcel of the ‘new scramble’ for Africa’s political and economic resources.\n  \nRawia Tawfik is an assistant professor at the Faculty of Economics and Political Science at Cairo University. She holds a Doctor of Philosophy in Politics from the University of Oxford and a Master of Science in Politics from Cairo University. Her research interests include issues surrounding African development and regional integration\, Nile hydro-politics\, and the foreign policy of regional powers in Africa. She was a visiting research fellow at the South African Institute of International Affairs (SAIIA)\, and the Africa Institute of South Africa (AISA) and a researcher at the German Development Institute/Deutsches Institut für Entwicklungspolitik (DIE). She received a number of prestigious awards and research grants\, including the individual research grant of the African Peacebuilding Network in 2017\, and the Presidential Fellowship of the African Studies Association.\n 
URL:https://csaad.nyu.edu/event/lecture-afro-arab-relations-from-the-common-struggle-to-the-new-scramble/
LOCATION:Location: Hegop Kevorkian Center\, 255 Sullivan St. (at Washington Square South)\, New York\, 10012\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181126T183000
DTEND;TZID=America/New_York:20181126T200000
DTSTAMP:20181116T233048Z
CREATED:20181116T233048Z
LAST-MODIFIED:20181116T233048Z
UID:556-1543257000-1543262400@csaad.nyu.edu
SUMMARY:Gallatin Coffeehouse on the #METOO Movement
DESCRIPTION:Join Gallatin faculty\, students\, and alumni for a discussion of #MeToo\, its consequences\, and the complexities of organizing for social change in which sexuality\, gender\, race\, class\, and access to political and economic power matter. Josy Jablons(BA ’17)\, Annie Felix (BA ’19)\, and Gallatin faculty members Sharon Friedman\,Rosanne Kennedy\, Ritty Lukose\, and Sara Murphy will speak; George Shulmanwill moderate. \nThe #MeToo Movement was begun by African American civil rights activist Tarana Burke in 2006\, in the name of women who had survived violence\, with a focus on low-income women of color. The Movement gained momentum when movie producer Harvey Weinstein was accused of sexual assault by women in Hollywood. Since then women from many industries and positions in the workplace\, have come forward to tell their stories of sexual harassment\, intimidation\, and assault. Others have elided traditional boundaries between the private and public spheres and have told their stories of sexual harassment. In response\, powerful and influential men have resigned\, been fired\, withdrawn from public life. Some have suffered no consequences at all. \nAll who attend are asked to respect the privacy and confidentiality of those who share.
URL:https://csaad.nyu.edu/event/gallatin-coffeehouse-on-the-metoo-movement/
LOCATION:NYU Gallatin School of Individualized Study\, 1 Washington Place\, New York\, NY\, 10003\, United States
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ORGANIZER;CN="Gallatin School of Individualized Study":MAILTO:gallatin@nyu.edu
GEO:40.7292847;-73.9939135
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181127T180000
DTEND;TZID=America/New_York:20181127T210000
DTSTAMP:20181116T233721Z
CREATED:20181116T233721Z
LAST-MODIFIED:20181116T233721Z
UID:562-1543341600-1543352400@csaad.nyu.edu
SUMMARY:Indocumentales-En el Séptimo día/On The Seventh Day
DESCRIPTION:The Center for Latin American and Caribbean Studies at New York University (CLACS)\, Cinema Tropical\, and the World Council of Peoples for the United Nations / What Moves You?\, are proud to announce the official re-launch of INDOCUMENTALES – a film and conversation series committed to exploring the multiplicity of Latin American migrant experiences in our country through compassionate representation and critical dialogue. \nINDOCUMENTALES began in May of 2010 as Indocumentales: the US/Mexico Interdependent Film Series with screenings and panel discussions at New York University’s King Juan Carlos I of Spain Center and other venues throughout the five boroughs including the Americas Society and Cervantes Institute in Midtown Manhattan\, the Dwyer Cultural Center in Harlem\, the Casita Maria Center for the Arts in the Bronx\, the Beacon Center for the Arts in Bushwick\, Brooklyn\, and the Queens Museum in Corona\, New York. It since traveled across the U.S.\, as well as to Mexico and Canada\, engaging diverse communities in reflecting on their relationship to the questions posed in the films. \nFor the fall of 2018 re-launch\, INDOCUMENTALES is returning to its origins in New York City with two films that focus on immigrant experiences in this city. We are proud to present David Riker’s critically-acclaimed film La Ciudad (1998) followed by Jim McKay’s most recent feature En El Séptimo Día (2018). Twenty years between their releases\, the films nevertheless employ similar narrative structures and production models: both are filmed on location in New York\, in Spanish\, with majority non-professional actors. Moreover\, both films\, through contrasting but complimentary styles\, speak to the struggle of newly-arrived Latin American migrants for survival\, respect\, and meaning in unfamiliar territories. \nThe series is free and open to the public. All screenings are followed by panel discussions meant to bring together filmmakers\, scholars\, activists\, policy makers\, and community representatives concerned with the fortification of immigrant rights. \n____________________________________________________________________________ \n\nEN EL SEPTIMO DIA (Jim McKay\, USA\, 2018\, 92 min. In Spanish with English subtitles) \nEn el Séptimo Día is a fiction feature following a group of undocumented immigrants living in Sunset Park\, Brooklyn over the course of seven days. Bicycle delivery guys\, construction workers\, dishwashers\, deli workers\, and cotton candy vendors\, they work long hours six days a week and then savor their day of rest on Sundays on the soccer fields of Sunset Park. José\, a bicycle delivery worker\, is the team’s captain – young\, talented\, hardworking and responsible. When José’s team makes it to the finals\, he and his teammates are thrilled. But his boss throws a wrench into the celebration when he tells José he has to work on Sunday\, the day of the finals. José tries to reason with his boss or replace himself\, but his efforts fail. If he doesn’t work on Sunday\, his job and his future will be on the line. But if he doesn’t stand up for himself and his teammates\, his dignity will be crushed. Shot in the neighborhoods of Sunset Park\, Park Slope\, and Gowanus\, En el Séptimo Día is a humane\, sensitive\, and humorous window into a world rarely seen. The film’s impact is made quietly\, with restraint and respect for the individual experiences\, everyday challenges\, and small triumphs of its characters. \n\nTrailer: https://www.youtube.com/watch?v=gYg3mAJTWSE \n\nAbout the Director: \nJim McKay (Writer/Director/Producer) is a filmmaker and co-founder\, along with Michael Stipe\, of C-Hundred Film Corp. He has produced and directed a feature-length documentary\, Lighthearted Nation; a feature-length concert film\, R.E.M.’s Tourfilm; numerous music videos and an award-winning series of public service announcements called Direct Effect. In 1995\, McKay co-wrote\, directed and co-produced Girls Town\, which received the Filmmakers Trophy and a Special Jury Prize for Collaboration at the 1996 Sundance Film Festival. The film was released in 1996 in the U.S. by October Films. His second feature as a director was Our Song (1999)\, which premiered at the 2000 Sundance Film Festival\, played at New Directors/New Films in 2000\, and was distributed theatrically in the U.S. by IFC Films. McKay’s third feature\, Everyday People (2004)\, was selected as the Opening Night Film of New Directors/New Films 2004 and played at festivals around the U.S. before showing on HBO. His fourth feature\, Angel Rodriguez\, co-written with Hannah Weyer\, premiered at the Toronto Film Festival in 2005\, had its U.S. premiere at MoMA and showed on HBO in fall 2006. McKay was a co-writer of Nelson George’s Golden Globe Award-winning HBO Film Life Support\, starring Queen Latifah. McKay has directed numerous tv shows\, including The Wire\, Big Love\, Treme\, In Treatment\, Mr. Robot\, The Americans\, The Good Wife\, Boss\, Breaking Bad\, Rectify\, Power\, BrainDead and Law and Order. McKay served as a producer on American Movie (Chris Smith)\, The Sleepy Time Gal (Christopher Munch)\, Spring Forward (Tom Gilroy)\, Stranger Inside (Cheryl Dunye)\, La Boda and Escuela (Hannah Weyer)\, Brother to Brother (Rodney Evans)\, Room and Fourplay (Kyle Henry)\, Memorial Day (Josh Fox) and Mosquita y Mari (Aurora Guerrero). McKay was a Rockefeller Fellow in 2003 and a Guggenheim Fellow in 2004. In 2005\, he was a recipient of the Lincoln Center Martin E. Segal Award.x
URL:https://csaad.nyu.edu/event/indocumentales-en-el-septimo-dia-on-the-seventh-day/
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ORGANIZER;CN="The Center for Latin American and Caribbean Studies (CLACS)":MAILTO:clacs@nyu.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181129T183000
DTEND;TZID=America/New_York:20181129T200000
DTSTAMP:20181117T001048Z
CREATED:20181117T001048Z
LAST-MODIFIED:20181117T001048Z
UID:570-1543516200-1543521600@csaad.nyu.edu
SUMMARY:ARE WE POST-FRANCOPHONE YET? - KAOUTAR HARCHI & LIA BROZGAL
DESCRIPTION:Kaoutar Harchi is Postdoctoral Researcher at the Musée du Quai Branly and visiting professor at NYU (French Literature\, Culture and Thought and Institute of French Studies). A sociologist of culture\, her work revolves around francophonie as an intellectual and social field and the trajectories of Algerian novelists who have obtained recognition in France. She is the author of Je n’ai qu’une langue et ce n’est pas la mienne (2016). She has also published three novels\, including L’ampleur du saccage (Actes Sud\, 2011). \n  \n  \n\n\n\n\n\n\n\n\n\n\nLia Brozgal is Associate Professor of French and Francophone Studies at UCLA\, with a special emphasis on France and North Africa. She is the author of Against Autobiography: Albert Memmi and the Production of Theory (2013); co-editor of Being Contemporary: French Literature\, Culture and Politics Today(2015); co-editor of Ninette of Sin Street (the first English translation of the Tunisian novella Ninette de la rue du Péché by Vitalis Danon); and author of essays on North African literature and cinema\, beur cultural productions\, chronicles of the Holocaust in North Africa\, and Judeo-Maghrebi literature and film. \nModerated by Amr Kamal\, Assistant Porfessor of French and Arabic at the City College of New York\, CUNY. \nIn English \nCo-sponsored by Department of French Literature\, Thought\, and Culture and Institute of French Studies
URL:https://csaad.nyu.edu/event/are-we-post-francophone-yet-kaoutar-harchi-lia-brozgal/
LOCATION:La Maison Française\, 16 Washington Mews\, New York\, NY\, 10003\, United States
GEO:40.7311635;-73.9953761
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