Annual Report 2013–2014 Abc
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2018–2019 Annual Report the Center for the Humanities
The Center for the Humanities for The Center The Center for the Humanities The Center for the The Graduate Center, CUNY 365 5th Ave., Room 5103 New York, NY 10016 Humanities 2018-2019 2018–2019 Annual Report 2 3 4 Letter from the Director 6 Letter from the Staff 11 Student Engagement 29 Faculty Engagement 51 Public Engagement 75 Statistics 80 About the Center Front cover: Rachel Mazique presents at "Publishing American Sign Language Poetry," 2018. Participants at "Listening with Radical Empathy," 2018. Top: Hawwaa Ibrahim presents the keynote at the Y.E.S. Youth Summit, 2018. for the Humanities Bottom: Installation view of Ellen Rothenberg, "ISO 6346: ineluctable immigrant," 2019. 4 5 Letter from the Director The Center for the Humanities has been serving its various constit- uencies for a quarter century, and to commemorate our milestone year, we have chosen to arrange this annual report by celebrating the people we work with, demonstrating the variety of ways we collaborate with researchers—from individual students, faculty members, and visitors to community groups and global organizations. Over the last academic year, the Center for the Humanities has concentrated its energies on initiating, developing, and promoting sustained bodies of research over time. These discrete projects comprise an increasing part of our work. Moving away from delivering one-off events and conferences and toward supporting integrated multidisciplinary research, the Center has initiated collaborations with an increasingly diverse range of partner organizations across the city and internationally. Where core themes constructively overlap, we look to amplify such Director Keith Wilson in conversation with Harry Blain, Jacob Clary, Eileen Clancy, Christian Lewis, Dilara O’Neil, and artist crossover with bold public programming, as well as organize events that Mariam Ghani at screening of Dis-Ease, 2019. -
Notes for the Downloaders
NOTES FOR THE DOWNLOADERS: This book is made of different sources. First, we got the scanned pages from fuckyeahradicalliterature.tumblr.com. Second, we cleaned them up and scanned the missing chapters (Entering the Lives of Others and El Mundo Zurdo). Also, we replaced the images for new better ones. Unfortunately, our copy of the book has La Prieta, from El Mundo Zurdo, in a bad quality, so we got it from scribd.com. Be aware it’s the same text but from another edition of the book, so it has other pagination. Enjoy and share it everywhere! Winner0fThe 1986 BEFORECOLTJMBUS FOTJNDATION AMERICANBOOK THIS BRIDGE CALLED MY BACK WRITINGS BY RADICAL WOMEN OF COLOR EDITORS: _ CHERRIE MORAGA GLORIA ANZALDUA FOREWORD: TONI CADE BAMBARA KITCHEN TABLE: Women of Color Press a New York Copyright © 198 L 1983 by Cherrie Moraga and Gloria Anzaldua. All rights reserved. No part of this book may be reproduced without permission in writing from the publisher. Published in the United States by Kitchen Table: Women of Color Press, Post Office Box 908, Latham, New York 12110-0908. Originally published by Peresphone Press, Inc. Watertown, Massachusetts, 1981. Also by Cherrie Moraga Cuentos: Stories by Latinas, ed. with Alma Gomez and Mariana Romo-Carmona. Kitchen Table: Women of Color Press, 1983. Loving in the War Years: Lo Que Nunca Paso Por Sus Labios. South End Press, 1983. Cover and text illustrations by Johnetta Tinker. Cover design by Maria von Brincken. Text design by Pat McGloin. Typeset in Garth Graphic by Serif & Sans, Inc., Boston, Mass. Second Edition Typeset by Susan L. -
Soapstone Celebrating Women Writers
Soapstone: Celebrating Women Writers Study Groups 2015 - 2021 ====================================================== Reading Claudia Rankine, led by Ashley Toliver Six Saturday Mornings, 10:00 to 12, April – May, 2021 via Zoom Few books of modern poetry have so handily met and captured the zeitgeist of our collective psyche as Claudia Rankine's 2004 book, Citizen. Published in the midst of the nation’s spreading awareness of police brutality, racism and the birth of the Black Lives Matter movement, Citizen became an instant classic for its everyday depictions of the micro-aggressions faced by Black Americans, for whom the personal is always political. www.poetryfoundation.org/poets/claudia- rankine What’s interested me about Rankine’s career is how her work has moved from the intimately personal— permitting us only mere glimpses of the surrounding world— to the largely collective in both voice and concern. When I first encountered Claudia’s work, I was a college sophomore. While browsing the poetry stacks of my college library, I discovered her first two books, Nothing In Nature is Private and The End of the Alphabet. Both books swept me off my feet with the intensity of their inward gaze. In this study group, I’m interested in exploring the transition in subjectivity and form that takes shape in the space between Rankine’s The End of the Alphabet and Citizen. We’ll also explore selected readings in the form of additional excerpts from her work, interviews, articles, and/or whatever else we discover along the way. It’s my hope that this class will be an open, easy-going space where we can discuss Rankine’s work with fluidity, ease, and good humor. -
Lerud Dissertation May 2017
ANTAGONISTIC COOPERATION: PROSE IN AMERICAN POETRY by ELIZABETH J. LERUD A DISSERTATION Presented to the Department of English and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2017 DISSERTATION APPROVAL PAGE Student: Elizabeth J. LeRud Title: Antagonistic Cooperation: Prose in American Poetry This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the English Department by: Karen J. Ford Chair Forest Pyle Core Member William Rossi Core Member Geri Doran Institutional Representative and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2017. ii © 2017 Elizabeth J. LeRud iii DISSERTATION ABSTRACT Elizabeth J. LeRud Doctor of Philosophy Department of English June 2017 Title: Antagonistic Cooperation: Prose in American Poetry Poets and critics have long agreed that any perceived differences between poetry and prose are not essential to those modes: both are comprised of words, both may be arranged typographically in various ways—in lines, in paragraphs of sentences, or otherwise—and both draw freely from the complete range of literary styles and tools, like rhythm, sound patterning, focalization, figures, imagery, narration, or address. Yet still, in modern American literature, poetry and prose remain entrenched as a binary, one just as likely to be invoked as fact by writers and scholars as by casual readers. I argue that this binary is not only prevalent but also productive for modern notions of poetry, the root of many formal innovations of the past two centuries, like the prose poem and free verse. -
Dedication of Light to Amiri Baraka
Dedication of Light to Amiri Baraka You dream of meeting certain people. Amiri Baraka was on my bucket list. When I decided to create a Black Arts Movement Conference at UC Merced, the truth was it was an opportunity to meet my Heroes and Sheroes. Marvin X, the west coast co-founder of the Black Arts Movement asked Amiri to come to UC Merced, and he immediately said yes, as did Ishmael Reed, Eugene Redmond, Jerry Varnardo, Jimmy Garrett, Umar Bin Hassan, Askia Toure, Genny Lim, Emory Douglas, Billy X. Jennings, Adilah Barnes, Tarika Lewis, Avotcja, Charlotte “Mama C” O’Neal, Nathan Hare, Cecil Brown, and a host of other Black Arts Movement and Black Power luminaries. Why did they come to a small city in California’s San Joaquin Valley? This may seem farfetched, but it was about community. A feeling of belonging to something greater, a distant space in time that spoke of revolution, the liberation of a colonized people, and the need to connect. Many of the writers, activists, and artists had not seen each other in over forty years but connected through the pain, the hope, and the belief that they had a mission, the liberation of African Americans from oppression. Askia Toure spoke to students at UC Merced stating, “We let you down. It is up to you to fulfill what we tried to do.” Toure spoke as a freedom fighter, one who in the past went underground to survive. With Toure in this fight were Amiri Baraka, Sonia Sanchez, Larry Neal, and men and women who believed that they were in the midst of a revolution. -
Edición Especial Curated by Sweety's Members Bryan Rodriguez
Sweety’s Radio: Edición Especial Curated by Sweety’s members Bryan Rodriguez Cambana, Julia Mata, Eduardo Restrepo Castaño and Ximena Izquierdo Ugaz. On View: June 27 through July 30, 2017 Interview Dates: Friday, June 30, July 7, July 14 and July 21 from 6-8P Gallery Hours: Tuesday – Sunday, 12-6P Episode 3: Emanuel Xavier On View: July 11 through July 16, 2017 Interview: Friday, July 14 from 6-8P, hosted by Sweety’s member Ximena Izquierdo Ugaz This year marks the 20th anniversary Emanuel Xavier’s self-published chapbook Pier Queen, a poetic manifesto about his personal experiences coming of age as a former street hustler, drug dealer/addict, homelessness and survivor of child abuse. To celebrate this LGBTQ Latinx and POC milestone, Rebel Satori Press has reissued the book with brand new cover art featuring a photograph by Richard Renaldi that captures the spirit and defiance of the Christopher Street West Side Highway piers. As part of Sweety’s Radio: Edicion Especial we will be honoring the anniversary of this chapbook with an exhibition and reception. On Friday, July 14, Xavier will be joined by percussionist Joyce Jones to recreate the spirit of late 90s poetry readings from the book Pier Queen in celebration of the 20th Anniversary of this landmark collection by a former homeless pier queen who went on to become one of the most significant voices of the LGBT and Latinx poetry movements. Drawn from Xavier’s personal archives as well as artists in conversation with his work, the exhibition spans several bodies of work from throughout Xavier’s career; from videos, event flyers, fan notes, memorabilia from that era as well as photographs by Richard Renaldi and artwork by Gabriel Garcia Roman. -
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K E N N E D Y THEATRE C H I N A VISIONS We have over 50 shops and services. You'l l love the convenience of shopping at Manoa Marketplace! Bakery Sweet Thoughts Clothing Sea Drea ms • Chelsect Financial Bank of Honolulu • First Federal Savings & Loan • First Nationwide Bank • Pioneer Federal Food Kay's Crackseed • Mits' Basic Food s • Yama's Fish Market Hairstyling Hairsca pes • Yes George Laundry/Dry Cleaner Hakuyosha Hawa ii In c. • Manoa Laundry Health Services Manoa Chi roprac ti c & Shiatsu Dr. Ho me r Onizuka, Opto metrist • Dr. Charles Arizumi, DDS Restaurants Castagnola's Italian Restaurant • Island Manapua Factory • McDonald 's • 0 Bok Restaurant • Restaurant Kamigata Specialty Advanced Photo Design • The Baby Place • Coffee Manoa • Craft Connection • Data Quest • T. Fujii Japanese Antiques • The Gourmet Deli • G. Williker's • Larry Auto Parts • Manoa Jewelers • Manoa Teletronics • The Sports Company • Tiffany Plant Co. • VideoShots Hawaii Services-Miscellaneous Century 21-Ann Davidson • Century 21 of the Pacific, Inc. • Creighton Properties Islands • Designers Hawaii Corporation • Dower Realty • Clarence Fong AlA • Four Star Insurance • Gray W. Nelson & Co. • Law Offices of Neil T. Nakamura • Manoa Marketplace Management • Manoa Shopping Center • Minami Development Hawaii, Inc. • Regal December 1, 2, 7, 8, 9 and 10, 1989 Travel • Suzuki Kawabata & Assoc., Architects • U.S. Post Office Variety Longs Drug Store ManoaMarketplace Entrances at Woodlawn Dr. and East Manoa Rd . In the heart of Manoa The University of Hawaii at Manoa Department of Theatre and Dance presents In honor of the 200th Anniversary of the Chinese Immigration to Hawaii, the University of Hawaii Bookstore has a Islands selection of books for your enrichment- Scripted and Directed by Gary L. -
ELCOCK-DISSERTATION.Pdf
HIGH NEW YORK THE BIRTH OF A PSYCHEDELIC SUBCULTURE IN THE AMERICAN CITY A Thesis Submitted to the College of Graduate Studies and Research in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of History University of Saskatchewan Saskatoon By CHRIS ELCOCK Copyright Chris Elcock, October, 2015. All rights reserved Permission to Use In presenting this thesis in partial fulfilment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis. Requests for permission to copy or to make other use of material in this thesis in whole or part should be addressed to: Head of the Department of History Room 522, Arts Building 9 Campus Drive University of Saskatchewan Saskatoon, Saskatchewan S7N 5A5 Canada i ABSTRACT The consumption of LSD and similar psychedelic drugs in New York City led to a great deal of cultural innovations that formed a unique psychedelic subculture from the early 1960s onwards. -
The Cambridge Companion to Twenty-First Century American Fiction Edited by Joshua Miller Frontmatter More Information
Cambridge University Press 978-1-108-83827-6 — The Cambridge Companion to Twenty-First Century American Fiction Edited by Joshua Miller Frontmatter More Information -- Reading lists, course syllabi, and prizes include the phrase “twenty-first-century American literature,” but no critical consensus exists regarding when the period began, which works typify it, how to conceptualize its aesthetic priorities, and where its geographical boundaries lie. Considerable criticism has been published on this extraordinary era, but little programmatic analysis has assessed comprehensively the literary and critical/theoretical output to help readers navigate the labyrinth of critical pathways. In addition to ensuring broad coverage of many essential texts, The Cambridge Companion to Twenty-First- Century American Fiction offers state-of-the-field analyses of contemporary narrative studies that set the terms of current and future research and teaching. Individual chapters illuminate critical engagements with emergent genres and concepts, including flash fiction, speculative fiction, digital fiction, alternative temporalities, Afro-Futurism, ecocriticism, transgender/queer studies, anti- carceral fiction, precarity, and post-9/11 fiction. . is Associate Professor of English at the University of Michigan. He is the author of Accented America: The Cultural Politics of Multilingual Modernism (2011), editor of The Cambridge Companion to the American Modernist Novel (2015), and coeditor of Languages of Modern Jewish Cultures: Comparative Perspectives (2016). © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-83827-6 — The Cambridge Companion to Twenty-First Century American Fiction Edited by Joshua Miller Frontmatter More Information THE CAMBRIDGE COMPANION TO TWENTY-FIRST- CENTURY AMERICAN FICTION EDITED BY JOSHUA L. -
Amanda Nash Went Right to the Source: the Author
The Women’s Review of Books Vol. XXI, No. 2 November 2003 74035 $4.00 In This Issue Even in the case of an artist like Louise Bourgeois, who has written extensively about the origins of her artworks in her life experience, the relationship between memory and art is never transparent or straight- forward, says reviewer Patricia G. Berman. Cover story D In The Fifth Book of Peace, her “nonfiction-fiction-nonfiction sandwich,” Maxine Hong Kingston experiments with new narrative forms, forgoing the excitement of conflict in an attempt to encom- pass the experience of peace and community. p. 5 Louise Bourgeois in her Brooklyn studio in 1993, with To find out what makes 3, Julie Shredder (1983) and Spider (then in progress). From Hilden’s novel of sexual obsession Runaway Girl: The Artist Louise Bourgeois and experimentation, so haunting, reviewer Amanda Nash went right to the source: The author. Art and autobiography Interview, p. 11 by Patricia G. Berman Could Hillary Rodham Clinton Three books examine the career of artist Louise Bourgeois became America’s first woman presi- dent? Judith Nies reads the senator’s n Christmas day 2003, the artist like environment suggestive of pulsating memoir Living History—along with Louise Bourgeois will turn 92. Her viscera, and I Do, I Undo, I Redo (2000), the other new books that examine O vitality, wit, and ability to fuse titanically scaled steel towers that initiated excess with elegance continue to rival the the Turbine Hall of the Tate Modern in women’s political leadership in this works of artists one-third her age. -
Pw Ar07.Qxd:Layout 1
annual report 2006-2007 INTRODUCTION Last year, our signature Readings/Workshops program continued its nationwide expansion, made possible by our successful capital campaign in 2006, which enabled us to establish an endowment to bring the program to six new cities. In 2007, we began supporting writers participating in literary events in Washington, D.C. and in Houston. In Washington, D.C., we funded events taking place at venues, including Columbia Lighthouse for the Blind, Edmund Burke High School, and Busboys & Poets. We also partnered with Arte Publico Press, Nuestra Palabra, and Literal magazine to bring writers to audiences in Houston. In addition to the cities noted above, our Readings/Workshops program supports writers and organizations throughout New York State and California, and in Atlanta, Chicago, Detroit, and Seattle. Last year, we provided $215,050 to 732 writers participating in 1,745 events. Poets & Writers Magazine celebrated its 20th anniversary last year and offered a number of helpful special sections, including a collection of articles on the increasingly popular MFA degree in creative writing. The magazine also took a look at writers conferences, including old favorites like Bread Loaf and Yaddo, as well as some newer destinations—the Macondo Workshop for Latino writers and Soul Mountain for African American writers. We also offered “The Indie Initiative,” our annual feature on small presses looking for new work, and “Big Six,” a snapshot of the country’s largest publishers of literary books. Our Information Services staff continued to provide trustworthy and personalized answers to hundreds of writers’ questions on topics ranging from vanity presses to literary agents. -
Furiousflower2014 Program.Pdf
Dedication “We are each other’s harvest; we are each other’s business; we are each other’s magnitude and bond.” • GWENDOLYN BROOKS Dedicated to the memory of these poets whose spirit lives on: Ai Margaret Walker Alexander Maya Angelou Alvin Aubert Amiri Baraka Gwendolyn Brooks Lucille Clifton Wanda Coleman Jayne Cortez June Jordan Raymond Patterson Lorenzo Thomas Sherley Anne Williams And to Rita Dove, who has sharpened love in the service of myth. “Fact is, the invention of women under siege has been to sharpen love in the service of myth. If you can’t be free, be a mystery.” • RITA DOVE Program design by RobertMottDesigns.com GALLERY OPENING AND RECEPTION • DUKE HALL Events & Exhibits Special Time collapses as Nigerian artist Wole Lagunju merges images from the Victorian era with Yoruba Gelede to create intriguing paintings, and pop culture becomes bedfellows with archetypal imagery in his kaleidoscopic works. Such genre bending speaks to the notions of identity, gender, power, and difference. It also generates conversations about multicultur- alism, globalization, and transcultural ethos. Meet the artist and view the work during the Furious Flower reception at the Duke Hall Gallery on Wednesday, September 24 at 6 p.m. The exhibit is ongoing throughout the conference, 10 a.m. to 5 p.m. FUSION: POETRY VOICED IN CHORAL SONG FORBES CENTER FOR THE PERFORMING ARTS Our opening night concert features solos by soprano Aurelia Williams and performances by the choirs of Morgan State University (Eric Conway, director) and James Madison University (Jo-Anne van der Vat-Chromy, director). In it, composer and pianist Randy Klein presents his original music based on the poetry of Margaret Walker, Michael Harper, and Yusef Komunyakaa.