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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. -
The Transgenerational Trauma in Sherman Alexie's
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Anna Vacková The Transgenerational Trauma in Sherman Alexie’s Autobiographical Writing Bachelor’s Diploma Thesis Supervisor: Jeffrey Alan Vanderziel, B.A. 2018 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature Acknowledgement I would like to thank my supervisor Jeffrey Alan Vanderziel, B.A. for his helpful approach and valuable advice he provided me. I would also like to thank my family, friends, and my partner for their support. TABLE OF CONTENTS INTRODUCTION ............................................................................................... 1 1. SHERMAN ALEXIE .................................................................................. 3 The Analysed Works ........................................................................................ 7 The Absolutely True Diary of a Part-Time Indian ...................................... 9 You Don’t Have to Say You Love Me: a Memoir ...................................... 10 2. THE CONCEPT OF TRANSGENERATIONAL TRAUMA .............. 12 3. ANALYSIS ................................................................................................ 18 4. CONCLUSION ......................................................................................... 30 5. WORKS CITED ...................................................................................... -
The Black Arts Enterprise and the Production of African American Poetry
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE The Black Arts Enterprise and the Production of African American Poetry The Black Arts Enterprise and the Production of African American Poetry Howard Rambsy II The University of Michigan Press • Ann Arbor First paperback edition 2013 Copyright © by the University of Michigan 2011 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2016 2015 2014 2013 5432 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Rambsy, Howard. The black arts enterprise and the production of African American poetry / Howard Rambsy, II. p. cm. Includes bibliographical references and index. ISBN 978-0-472-11733-8 (cloth : acid-free paper) 1. American poetry—African American authors—History and criticism. 2. Poetry—Publishing—United States—History—20th century. 3. African Americans—Intellectual life—20th century. 4. African Americans in literature. I. Title. PS310.N4R35 2011 811'.509896073—dc22 2010043190 ISBN 978-0-472-03568-7 (pbk. : alk. paper) ISBN 978-0-472-12005-5 (e-book) Cover illustrations: photos of writers (1) Haki Madhubuti and (2) Askia M. Touré, Mari Evans, and Kalamu ya Salaam by Eugene B. Redmond; other images from Shutterstock.com: jazz player by Ian Tragen; African mask by Michael Wesemann; fist by Brad Collett. -
Biography Etheridge Knight Was a Man of Mystery. According To
Biography Etheridge Knight was a man of mystery. According to Sanford Pinsker, “Knight is the kind of poet who gives poetry a good name.”1 Fran Quinn, a close friend of Knight’s said that Knight is “the kind of person that a lot of rumors are going to gather around.”2 One thing that is certain is the he managed to produce a body of work that is to this day considered some of the finest of American poetry. Etheridge Knight was born on April 19, 1931, in Corinth, Mississippi. He grew up in Paducah, Kentucky. Knight only attended school until he had finished the eight grade. It was during this period that his problems with drug and alcohol use began, although this was also when he was introduced to the art of toasting. Toasts are traditional oral forms of narratives, often focusing on “drugs, sex, illegal activities, and violence.” After he dropped out, he ended up joining the army in 1947. Knight saw active duty in Korea and served until he was discharged in 1951 after suffering a shrapnel wound.3 In 1960 he was arrested for what was officially called armed robbery.4 Knight had distracted a clerk at a convenience store and taken $12 out of the register. When the police picked him up a few blocks away, he was found to have a knife in his pocket. The whole incident had been caught on the store’s security camera, and despite never having drawn the weapon, Knight was convicted of armed robbery and made into an example by the judge; who sentenced him to one year in prison for each dollar taken. -
Sherman Alexie's Reservation: Relocating the Center of Indian
ABSTRACT SHERMAN ALEXIE’S RESERVATION: RELOCATING THE CENTER OF INDIAN IDENTITY by Tracey L. Connette NOVEMBER, 2010 Director: Ellen L. Arnold, PhD DEPARTMENT OF ENGLISH Indian reservations are territories within the United States recognized by the federal government as land reserved specifically for American Indians. Indigenous communities still referred to as tribes have some autonomy over the reserved lands, which allow tribes freedom to maintain and preserve cultural heritage. Indian reservations are societies within the larger mainstream America, making physical and social boundaries problematic for cross-cultural exchange. Indian writer Sherman Alexie challenges the misrepresentations of Indians which originated from a EuroAmerican perspective of the “outside looking in” to these cultures. Sherman Alexie presents the Indian perspective of “looking out” at mainstream society. Rather than evoking a desire for one homogenous society, Alexie’s narratives reveal Indian identity as a distinct identity compatible with other cultures. The homogenous element Alexie does include in all of his literature is the human condition. This thesis demonstrates how Sherman Alexie conceptualizes the reservation as a center of Indian identity in three of his novels, The Lone Ranger and Tonto Fistfight in Heaven (1993), Reservation Blues (1995) and The Absolutely True Diary of a Part-Time Indian (2009). In The Lone Ranger and Tonto Fistfight in Heaven , the reservation functions as a center of post-colonial trauma rather than existing as a cultural hub. In Reservation Blues , Alexie portrays the center as a process rather than location of Indian identity. In The Absolutely True Diary of a Part-Time Indian , the center of Indian identity is the Indian character him or herself; the reservation is only elemental as part of the process of Indian experience. -
Allison Adelle Hedge Coke Selected Resume Advanced
ALLISON ADELLE HEDGE COKE www.allisonhedgecoke.com www.hedgecoke.com www.rdkla.com www.reddustfilm.com [email protected] [email protected] 405.888.1574 SELECTED RESUME ADVANCED DEGREES/EDUCATION DEGREES IN LITERARY FIELD Vermont College / Norwich University •Postgraduate, Nonfiction/Creative Nonfiction, Merit Scholar, Completed December 1995 •MFAW, Poetry (Fiction), Merit Scholar, (Terminal) MFA Degree July 1995 (Creative and Critical Theses. Critical, a pedagogical paper on teaching creative writing in a cultural setting. Creative, manuscript of original work.) Institute for American Indian Arts •AFAW Creative Writing, Departmental Awards, Naropa Prize, Red Elk Scholarship, Edited two student anthologies: Voices of Thunder and It’s Not Quiet Anymore, (Creative Writing, Sculpture, Native American Studies Courses) Graduated 1993 •Note: Bachelor’s Degree waived upon graduate school acceptance, based upon GRE scores, publications, Professional Performing Arts graduation equivalent, and demonstrated excellence. ADDITIONAL ADVANCED EDUCATION Naropa University •MFA Program Summer Award Fellowships (2), Poetry/Fiction, Naropa Poetry Prize 1992-1993 Fellowship with Allen Ginsberg & Naropa Summer Faculty and Zora Neale Hurston Scholarship Estelle Harmon’s Actors’ Workshop •Professional Performing Arts (Graduated four year professional arts program, BFA equivalent, Performance in Stage, Television, Screen; Script, Directing, Dialects, Period Portrayal, Psychology of the Actor/Character, Camera and Stage Tech) Graduated PPADC 1988 Poverty -
Lauro Flores
Lauro Flores Department of Romance Languages and Literatures University of Washington Seattle, W A 98195 Visible Language XXI 1 (Winter 1987) Lauro Flores, pp.130-152 ©Visible Language, Wayne State University Press, Detroit, MI 48202 The contact and interaction of English and Spanish, of Mexican and Anglo-American cultures, lies at the heart of the Chicano experience in the United States. Accordingly, code-switching has been a salient feature of many Chicano literary works. The simulta neous incorporation of both languages into poetry and other artistic forms is sometimes interpreted as an expression of the ambiguity permeating the historical evolution of this people. However, it can also be explained as part of the Chicanos' attempt to achieve cultural definition and autonomy in a con flicting reality. 131 II The author gratefully The historical context. acknowledges the support he received from the Institute for Ethnic Studies in the Any brief reference to Chicano poetry is bound to United States, University of refer the uninformed reader almost exclusively to Washington. It made the literary production loosely associated with the possible the completion of Chicano movement - poetry written during the last this and other projects. two decades. Until recently, the general contention, or at least the assumption on the part of many critics and literary historians, was that before the 1960s there was no literature written by people of Mexican descent in the United States. Nothing could be farther from the truth. While it is clear that the Chicano movement came to foment and revitalize the artistic endeavors of Chicanos during the last twenty years, subsequent research has demonstrated that the production of literature is hardly a new activity for this group. -
5.00 #214 February/MARCH 2008 the Jack Kerouac School of Disembodied Poetics Summer Writing Program 2008
$5.00 #214 FEBRUARY/MARCH 2008 The Jack Kerouac School of Disembodied Poetics Summer Writing Program 2008 7EEKLY7ORKSHOPSs*UNEn*ULYs"OULDER #/ WEEK ONE: June 16–22 The Wall: Troubling of Race, Class, Economics, Gender and Imagination Samuel R. Delany, Marcella Durand, Laird Hunt, Brenda Iijima, Bhanu Kapil, Miranda Mellis, Akilah Oliver, Maureen Owen, Margaret Randall, Max Regan, Joe Richey, Roberto Tejada and Julia Seko (printshop) WEEK TWO: June 23–29 Elective Affinities: Against the Grain: Writerly Utopias Will Alexander, Sinan Antoon, Jack Collom, Linh Dinh, Anselm Hollo, Daniel Kane, Douglas Martin, Harryette Mullen, Laura Mullen, Alice Notley, Elizabeth Robinson, Eleni Sikelianos, Orlando White and Charles Alexander (printshop) WEEK THREE: June 30–July 6 Activism, Environmentalism: The Big Picture Amiri Baraka, Lee Ann Brown, Junior Burke, George Evans, Bobbie Louise Hawkins, Lewis MacAdams, Eileen Myles, Kristin Prevallet, Selah Saterstrom, Stacy Szymaszek, Anne Waldman, Daisy Zamora and Karen Randall (printshop) WEEK FOUR: July 7–13 Performance, Community: Policies of the USA in the Larger World Dodie Bellamy, Rikki Ducornet, Brian Evenson, Raymond Federman, Forrest Gander, Bob Holman,Pierre Joris, Ilya Kaminsky, Kevin Killian, Anna Moschovakis, Sawako Nakayasu, Anne Tardos, Steven Taylor, Peter & Donna Thomas (printshop) Credit and noncredit programs available Poetry s&ICTIONs4RANSLATION Letterpress Printing For more information on workshops, visit www.naropa.edu/swp. To request a catalog, call 303-245-4600 or email [email protected]. Keeping the world safe for poetry since 1974 THE POETRY PROJECT ST. MARK’S CHURCH in-the-BowerY 131 EAST 10TH STREET NEW YORK NY 10003 NEWSLETTER www.poetryproject.com #214 FEBRUARY/MARCH 2008 NEWSLETTER EDITOR John Coletti 4 ANNOUNCEMENTS DISTRIBUTION Small Press Distribution, 1341 Seventh St., Berkeley, CA 94710 6 READING REPORTS THE POETRY PROJECT LTD. -
The Reel Latina/O Soldier in American War Cinema
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 10-26-2012 12:00 AM The Reel Latina/o Soldier in American War Cinema Felipe Q. Quintanilla The University of Western Ontario Supervisor Dr. Rafael Montano The University of Western Ontario Graduate Program in Hispanic Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Felipe Q. Quintanilla 2012 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Film and Media Studies Commons Recommended Citation Quintanilla, Felipe Q., "The Reel Latina/o Soldier in American War Cinema" (2012). Electronic Thesis and Dissertation Repository. 928. https://ir.lib.uwo.ca/etd/928 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. THE REEL LATINA/O SOLDIER IN AMERICAN WAR CINEMA (Thesis format: Monograph) by Felipe Quetzalcoatl Quintanilla Graduate Program in Hispanic Studies A thesis submitted in partial fulfillment of the requirements for the degree of PhD in Hispanic Studies The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Felipe Quetzalcoatl Quintanilla 2012 THE UNIVERSITY OF WESTERN ONTARIO School of Graduate and Postdoctoral Studies CERTIFICATE OF EXAMINATION Supervisor Examiners ______________________________ -
The Berkeley Poetry Conference
THE BERKELEY POETRY CONFERENCE ENTRY FROM WIKIPEDIA: http://en.wikipedia.org/wiki/Berkeley_Poetry_Conference Leaders of what had at this time had been termed a revolution in poetry presented their views and the poems in seminars, lectures, individual readings, and group readings at California Hall on the Berkeley Campus of the University of California during July 12-24, 1965. The conference was organized through the University of California Extension Programs. The advisory committee consisted of Thomas Parkinson, Professor of English at U.C. Berkeley, Donald M. Allen, West Coast Editor of Grove Press, Robert Duncan, Poet, and Richard Baker, Program Coordinator. The roster of scheduled poets consisted of: Robin Blaser, Robert Creeley, Richard Durerden, Robert Duncan, Allen Ginsberg, Leroi Jones (Amiri Baraka), Joanne Kyger, Ron Lowewinson, Charles Olson, Gary Snyder, Jack Spicer, George Stanley, Lew Welch, and John Wieners. Leroi Jones (Amiri Baraka) did not participate; Ed Dorn was pressed into service. Seminars: Gary Snyder, July 12-16; Robert Duncan, July 12-16; LeRoi Jones (scheduled), July 19-23; Charles Olson, July 19-23. Readings (8-9:30 pm) New Poets, July 12; Gary Snyder, July 13; John Wieners, July14; Jack Spicer, July 15; Robert Duncan, July 16; Robin Blaser, George Stanley and Richard Duerden, July 17 New Poets, July 19; Robert Creeley, July 20; Allen Ginsberg, July 21; LeRoi Jones, July 22; Charles Olson, July 23; Ron Loewinsohn, Joanne Kyger and Lew Welch, July 24 Lectures: July 13, Robert Duncan, “Psyche-Myth and the Moment of Truth” July 14, Jack Spicer, “Poetry and Politics” July 16, Gary Snyder, “Poetry and the Primitive” July 20, Charles Olson, “Causal Mythology” July 21, Ed Dorn, “The Poet, the People, the Spirit” July 22, Allen Ginsberg, “What's Happening on Earth” July 23, Robert Creeley, “Sense of Measure” Readings: Gary Snyder, July 13, introduced by Thomas Parkinson. -
Hispanic American Literature, Small, Independent Presses That Rely Upon U.S
HISPANICHISPANIC AMERICANAMERICAN LITELITERRAATURE:TURE: DIVEDIVERRGENCEGENCE && C0MMONALITYC0MMONALITY BY VIRGIL SUAREZ n an autobiographical sketch written in 1986, the some of the best work is coming from such sources. respected Chicano American novelist Rudolfo Increasingly, though, with the recognition associated Anaya observed that “if I am to be a writer, it is with the nation’s most prestigious literary awards -- the ancestral voices of…[my]… people who will the Before Columbus Foundation Award, the National form a part of my quest, my search.” Book Award and the Pulitzer Prize -- Hispanic IAncestral voices are very much a part of Hispanic American authors are being courted by the publishing American literature today, a tradition harking back establishment. more than three centuries that has witnessed a Much of the attention of recent times, justifiably, is dramatic renascence in the past generation. As the owed to the groundbreaking work of the Chicano Arts Hispanic experience in the United States continues to movement of the late 1960s and early 1970s and the confront issues of identity, assimilation, cultural emergence of Hispanic American poets such as heritage and artistic expression, the works of Rodolfo Gonzales and Luis Alberto Urista (“Alurista,”) Hispanic American writers are read with a great deal and other writers who chronicled the social and of interest and passion. political history of the movement. The campaign was In a sense, the literature functions as a mirror, a propelled by grassroots activists such as Cesar reflection of the way Hispanic Americans are viewed Chavez and Dolores Huerta who played key roles in by the mainstream culture -- but not always the the unionization of migrant workers achieved through majority. -
Leslie Marmon Silko's Great -Grandfather), Who Came in 1872
by Per Seyeo.led .....................---,..,.."'.... ... ....... :::-:::: ~ ..,.. ' --- .... I BOISE STATE UNIVERSITY o BOISE, IDAHO o Boise State University Western Writers Series Number 45 By Per Seyersted University of Oslo, Norway Editon: Wilyne Chiltlerton Jilmta H. Magui..e Swine.. Milnilger: Jilrnta Hadden Co~r Design by Amy Skoy, Copyright 1980 Co~r llIustriltion by Leslie Milrmon Silko from LagUFWl WOlR4n. Used by permission of the iln illi. Boise State University, Boise, Idaho Copyrighl 1980 by the Boix Stale Uni\'le'nily Wn.l ern Writen Serin ALL RIGHTS RESERV ED Library of Congrnl' Card No. 80-70460 International Sta ndard Book No. O·884!lO·069·l! Pri nted in !he United Statn of Ameri ca by J .. 0 Printing Mnidian . Idaho teJlie /lt1l,.",t11 Silk~ In 1978 when Leslie Marmon Sitko was lecturing in Norway ana one day happened to see the figures on the iron plates in my fireplace, she immediately exclaimed: "Oh there you have the three goats from that Norwegian fairyralel" As she then told me, twenty years earlier her fifth grade teacher had read to the class from a large volume ofScandinavian ta les, whereupon she had asked for the book and read them all herself. including the one she now saw illustrated in front of her. This littleincidentshows how. at an earlyage. she wasalready actively in terested in stories and how they remain vivid with her. Raised in Old Laguna in New Mexico. herself partly Laguna Pueblo (and partly white and Mexican), she was spurred in th is interest by the love of storytelling and the strong oral tradition of her tribe: for centuries they have kept alive and renewed a rich store of tales about mythical.