When Donald Trump won the 2016 presidential elections, a bewildered nation struggled to understand what had happened and what Trump voters were thinking when they cast their ballots. Renowned sociologist
When Donald Trump won the 2016 presidential elections, a bewildered nation struggled to understand what had happened and what Trump voters were thinking when they cast their ballots. Renowned sociologist Arlie Hochschild had spent the preceding five years immersed in the strongly Tea-Party-facing community around Lake Charles, Louisiana, to produce the book Strangers in Their Own Land: Anger and Mourning on the American Right—now essential reading to understand what drives Trump supporters and what forces have led to the nation’s political divide.
Arlie Russell Hochschild is Professor Emerita of Sociology at the University of California, Berkeley. The author of nine books, she is one of the most in uential sociologists of her generation, known for her groundbreaking work on the power of emotion in social interaction.
CPRC and SSW event, cosponsored by IRWGS* and Sociology
(Wednesday) 12:00 pm
Columbia School of Social Work
1255 Amsterdam Avenue
The word “mother” traditionally meant a woman who bears and nurtures a child. In recent decades, changes in social norms and public policy as well as advances in reproductive technologies
The word “mother” traditionally meant a woman who bears and nurtures a child. In recent decades, changes in social norms and public policy as well as advances in reproductive technologies and the development of markets for procreation and care have radically expanded definitions of motherhood. But while maternity has become a matter of choice for more women, the freedom to make reproductive decisions is unevenly distributed. Restrictive policies, socioeconomic disadvantages, cultural mores, and discrimination force some women into motherhood and prevent others from caring for their children.
Reassembling Motherhood brings together contributors from across the disciplines to examine the transformation of motherhood as both an identity and a role. It examines how the processes of bearing and rearing a child are being restructured as reproductive labor and care work change around the globe. The authors examine issues such as artificial reproductive technologies, surrogacy, fetal ultrasounds, adoption, nonparental care, and the legal status of kinship, showing how complex chains of procreation and childcare have simultaneously generated greater liberty and new forms of constraint. Emphasizing the tension between the liberalization of procreation and care on the one hand, and the limits to their democratization due to race, class, and global inequality on the other, the book highlights debates that have emerged as these multifaceted changes have led to both the fragmentation and reassembling of motherhood.
Yasmine Ergas is the director of the gender and public policy specialization at Columbia University’s School of International and Public Affairs.
Jane Jenson is professor emerita of political science at the Université de Montréal.
Sonya Michel is professor emerita of history, American studies, and women’s studies at the University of Maryland, College Park.
INCITE event, cosponsored by IRWGS
(Wednesday) 5:00 pm - 7:00 pm
International Affairs Building 1512
At Home with Transgression: On the Consanguinity of Queerness and Boundaries Shot with modest means and on a low budget, Giada Colagrande’s film, Aprimi il cuore (Open my
At Home with Transgression: On the Consanguinity of Queerness and Boundaries
Shot with modest means and on a low budget, Giada Colagrande’s film, Aprimi il cuore (Open my heart, Italy, 2002) is immodest in all its other aspects. Open my heart is an intriguing and mysterious tale of two sisters, Maria, a prostitute, and Caterina, a willing captive in their apartment, whose sexually intense bond turns deadly when any man crosses the boundaries of their secret relationship. Caterina accepts her state of “imprisonment” until the day she falls in love with Giovanni. When Maria discovers the affair, she develops a homicidal fury of which Caterina partakes, but also manages to end.
This unusually graphic, unusually disturbing, norm-bending work compared to both mainstream and independent Italian cinema, also relies on a number of ekphrastic references to classical and canonical art pieces, theology, music, and literature. Gothic paintings of the Virgin Mary, melodies from Schumann’s concertos, and lines from Dante’s Divine Comedy, are either interwoven into or materialize against the transgressive tones of incestuous lesbian sex, prostitution, and murder. In this chapter of my dissertation, I argue that while Open My Heart poses serious challenges to (hetero)normativity and to the myth of the family unit, it also deeply relies on these very structures to yield an exploration of queer disruption.
Reading and RSVP to email@example.com.
Alessia Palanti is a PhD candidate in the Department of Italian and Comparative Literature at Columbia University. She was Graduate Fellow at the Institute for Research on Women’s Gender and Sexuality this past academic year, and this year she is teaching a Gender and Sexuality-themed writing course. She is also currently writing her dissertation, which explores female queer discourse in contemporary Italy through the deployment of space(s) in 21st century female-directed films.Outside Columbia she’s been a consultant for the United Nation Women’s HeForShe Initiative, for a project that investigates gender bias in cinema. She co-curated an American independent film showcase, “American Fringe,” for Paris’s 2016 Festival D’Automne; and in 2015 she was on the selection committee, of the Rome Film Festival. Alessia is also a contemporary dancer/choreographer in New York City committed to moving and creating in spaces with feminist and queer political agendas.
(Thursday) 4:30 pm - 6:00 pm
754 Schermerhorn Extension
About the Artist Carolee Schneemann, multidisciplinary artist. Transformed the definition of art, especially discourse on the body, sexuality, and gender. The history of her work is characterized by research into archaic
Carolee Schneemann, multidisciplinary artist. Transformed the definition of art, especially discourse on the body, sexuality, and gender. The history of her work is characterized by research into archaic visual traditions, pleasure wrested from suppressive taboos, the body of the artist in dynamic relationship with the social body.
School of the Arts Event, cosponsored by IRWGS*
(Thursday) 6:30 pm
Lenfest Center for the Arts
615 W 129th St
The Center for Gender & Sexuality Law, the Institute for Research in African American Studies, the Institute for Research on Women, Gender & Sexuality, the Barnard Center for Research on
The Center for Gender & Sexuality Law, the Institute for Research in African American Studies, the Institute for Research on Women, Gender & Sexuality, the Barnard Center for Research on Women, and Columbia Law School’s QTPOC are pleased to present a film screening and discussion of the documentary flim, Free CeCe, with activist CeCe McDonald and Filmmaker Jac Gares.
As we honor Transgender Awareness month, we seek to discuss and open discourse around the institutional, social, and cultural violence that Transgender persons, and particularly transgender women of color face. We seek to discuss the ways in which we as advocates, activists, and members of a human community must come together to support those persons who are most marginalized in our communities.
This program is free and open to the public. If you require any disability accommodations to attend this program, please contact Liz Boylan, Associate Director for the Center for Gender & Sexuality Law at firstname.lastname@example.org or 212.854.0167.
“On her way to the store with a group of friends, Chrishaun Reed “CeCe” McDonald was brutally attacked. While defending her life, a man was killed. After a coercive interrogation, CeCe was incarcerated in a men’s prison in Minnesota. An international campaign to free CeCe garnered significant support from media and activists, including actress Laverne Cox. Cox signed on as executive producer of FREE CECE!, committed to exploring the role race, class, and gender played in CeCe’s case. In the end, CeCe emerged not only as a survivor, but also as a leader.
Documentarian Jac Gares pushed past the everyday narratives of victimhood surrounding the lives of transgender people, to spotlight the way CeCe and other trans people are leading a growing movement fighting for the rights of transgender people everywhere. CeCe’s powerful story highlights the groundswell of voices questioning the prison industrial complex and calling for its disassembly.
FREE CECE! is directed and produced by Jac Gares and executive produced by Laverne Cox. Slobodan Randjelovic also served as producer. Original music is by Jordana LeSesne with editing by Erik Satre.”
From Persephone Magazine, Laverne Cox:
“CeCe’s story is one that should have been covered more in the press. Trans women, particularly trans women of color, experience disproportionate amounts of violence and not enough is being done to eradicate that violence. CeCe’s story in so many ways encapsulates the intersectional issues that lead to far too many of us experiencing violence. I wanted to do a piece that explores the nature of how race, class and gender affect violence towards trans women and also give CeCe a space to tell her story in her words in the context of a piece that truly values the lives of trans women of color.“
(Monday) 6:30 pm - 9:00 pm
Jerome Greene Hall, Room 107
Columbia Law School, 435 West 116th Street
Meeting times: Tuesdays (4 sessions) Nov 14, 28, Dec 5 and 12, 5:30pm This mini-seminar explores Samuel Beckett’s work and the development of a voice, style, and ethos that we now commonly
Meeting times: Tuesdays (4 sessions) Nov 14, 28, Dec 5 and 12, 5:30pm
This mini-seminar explores Samuel Beckett’s work and the development of a voice, style, and ethos that we now commonly refer to as Beckettian.
It will serve not only as an introduction to Beckett’s œuvre by renowned interpreter Lisa Dwan, but it will also provide a clear insight into Beckett’s ethos, demonstrating a steady poetical trajectory from the early influence of Joyce and other modernists of this time, to the development of his own metaphysical voice and aesthetic vision, to the lean poetics of his late works.
Providing historic and personal insight into the roles he created for women and his genderless “crones,” the seminar, interwoven throughout with performances by Dwan and others includes interviews & insights from Beckett’s muses (actors Billie Whitelaw, Barry McGovern, Jack McGowran, among others) on what it cost to explore such insights of Beckett’s battle with the body and his efforts to capture the mind on stage and on the page. As we look at each body of work, the class will also examine the influence of Carravagio, Giacometti, Milton, Dante, Wordsworth, Shakespeare, Dance & Dance notation, the Bible, Carl Jung, as well as socio – political contexts.
The four sessions aim to fully immerse us into the trajectory of Beckett’s work and provide greater understanding of where the artist was headed.
In the final class people will be invited to imagine where his work may have further evolved had it not being cut short by the brevity of life. Students, faculty, and others are welcome to attend.
RSVP is required, please RSVP email@example.com. Space is limited.
(Tuesday) 5:30 pm
754 Schermerhorn Extension
For readings and to RSVP, contact firstname.lastname@example.org. About the Speaker Simona Forti is Professor of History of Political Philosophy at the Università del Piemonte Orientale, Italy. She graduated with a degree
For readings and to RSVP, contact email@example.com.
Simona Forti is Professor of History of Political Philosophy at the Università del Piemonte Orientale, Italy. She graduated with a degree in Philosophy from the University of Bologna, and she received her PhD in the History of Political Thought from Turin University. She is a founding member of “FINO”, a PhD Program in Philosophy coordinated by the Northwestern Italian University Consortium. She served as the Italian member of the Coordinating International Committee of the European Science Foundation Network Activity on “The Politics and History of European Democratisation” (PHED) for the European Science Foundation. From 2003-2011 she was member of the jury for “Der Hannah-Arendt Preis für politischen Denken”, Heinrich Böll Stiftung, Bremen and Berlin. She is standing President of the International Centre BIOS, research on biopolitics and bioethics, based at the Università del Piemonte Orientale.
She is known for her works on Hannah Arendt’s thought and on the philosophical idea of Totalitarianism and for her more recent work on Biopolitics and on the contemporary reshaping of the notion of Evil.
IRWGS Event, co-sponsored by ICLS
(Wednesday) 1:00 pm - 2:30 pm
754 Schermerhorn Extension
Join BCRW in celebrating the 40th anniversary of the Combahee River Collective Statement, the radical Black feminist manifesto completed in 1977 that laid out key tenets of intersectional theory and
Join BCRW in celebrating the 40th anniversary of the Combahee River Collective Statement, the radical Black feminist manifesto completed in 1977 that laid out key tenets of intersectional theory and social justice reform. Taking the works of wide range of artists as our point of departure—from musicians such as the Knowles Sisters and Nina Simone to visual artists like Carrie Mae Weems and the L.A. Rebellion filmmakers—we aim to build a bridge from this historic document to the present and future of Black feminism. Audience participation is key, as we invite all attendees to find new directions in which music and image will allow us to carry forth the manifesto’s cogent wisdom.
Daphne A. Brooks is a Professor of African American Studies and Theater Studies at Yale University. She is the author of two books: Bodies in Dissent: Spectacular Performances of Race and Freedom, 1850-1910 (Durham, NC: Duke UP), winner of The Errol Hill Award for Outstanding Scholarship on African American Performance from ASTR, and Jeff Buckley’s Grace (New York: Continuum, 2005). Brooks is currently working on a new book entitled Subterranean Blues: Black Women Sound Modernity (Harvard University Press, forthcoming).
She has authored numerous articles on race, gender, performance and popular music culture such as “Sister, Can You Line It Out?: Zora Neale Hurston & the Sound of Angular Black Womanhood” in Amerikastudien/American Studies, “‘Puzzling the Intervals’: Blind Tom and the Poetics of the Sonic Slave Narrative” in The Oxford Handbook of the African American Slave Narrative, “Nina Simone’s Triple Play” in Callaloo and “‘All That You Can’t Leave Behind’: Surrogation & Black Female Soul Singing in the Age of Catastrophe” in Meridians. Brooks is also the author of the liner notes for The Complete Tammi Terrell (Universal A&R, 2010) and Take a Look: Aretha Franklin Complete on Columbia (Sony, 2011), each of which has won the ASCAP Deems Taylor Award for outstanding music writing. She is the editor of The Great Escapes: The Narratives of William Wells Brown, Henry Box Brown, and William Craft (New York: Barnes & Noble Classics, 2007) and The Performing Arts volume of The Black Experience in the Western Hemisphere Series, eds. Howard Dodson and Colin Palmer (New York: Pro-Quest Information & Learning, 2006).
Brooks received her PhD in English from the University of California, Los Angeles.
Kara Keeling is Associate Professor in the School of Cinematic Arts at the University of Southern California. Her current research focuses on theories of temporality, spatial politics, finance capital, and the radical imagination; cinema and black cultural politics; digital media, globalization, and difference; and Gilles Deleuze and liberation theory, with an emphasis on Afrofuturism, Africana media, queer and feminist media, and sound. Her book, The Witch’s Flight: The Cinematic, the Black Femme, and the Image of Common Sense, explores the role of cinematic images in the construction and maintenance of hegemonic conceptions of the world and interrogates the complex relationships between cinematic visibility, minority politics, and the labor required to create and maintain alternative organizations of social life.
Keeling is author of several articles published in anthologies and journals and co-editor (with Colin MacCabe and Cornel West) of a selection of writings by the late James A Snead entitled European Pedigrees/ African Contagions: Racist Traces and Other Writing and (with Josh Kun) of a collection of essays about sound in American Studies entitled Sound Clash: Listening to American Studies. Currently, Keeling is writing her second monograph, tentatively entitled Queer Times, Black Futures and co-editing (with Thenmozhi Soundarajan) a collaborative multi-media archive and scholarship project focused on the work of Third World Majority, one of the first women of color media justice collectives in the United States, entitled From Third Cinema to Media Justice: Third World Majority and the Promise of Third Cinema.
Prior to joining the faculty at USC, Keeling taught at the University of North Carolina at Chapel Hill (UNC), and was an adjunct assistant Professor of Women’s Studies at Duke University, and a visiting assistant professor of Art and Africana Studies at Williams College. Keeling has developed and taught courses at the undergraduate and graduate level on topics such as Media and Activism, Cinema and Social Change, Race, Sexuality, and Cinema, and Film As Cultural Critique, among others. In the summer of 2005, Keeling participated in the National Endowment for the Humanities Summer Institute on African Cinema in Dakar, Senegal. She currently serves on the editorial boards of the journals Cultural Studies, Feminist Media Studies, and Catalyst: Feminism, Theory, Technoscience, and she is the Editor of the Moving Image Review section of the journal Gay and Lesbian Quarterly (GLQ).
Jacqueline Stewart is a Professor in the Department of Cinema and Media Studies and the College at the University of Chicago. Her research and teaching explore African American film cultures from the origins of the medium to the present, as well as the archiving and preservation of moving images, and “orphan” media histories, including non-theatrical, amateur, and activist film and video. She directs the South Side Home Movie Project and is co-curator of the L.A. Rebellion Preservation Project at the UCLA Film and Television Archive. She also serves as an appointee to the National Film Preservation Board. She is currently researching the racial politics of moving image preservation, and completing a study of the life and work of African American actor/writer/director Spencer Williams.
Stewart is the author of Migrating to the Movies: Cinema and Black Urban Modernity, which has achieved recognition from the Society for Cinema and Media Studies and the Black Caucus of the American Library Association. She is co-editor (with Allyson Nadia Field and Jan-Christopher Hoark) of L.A. Rebellion: Creating a New Black Cinema, winner of the 2017 Best Edited Collection award from the Society for Cinema and Media Studies. Her essays have appeared in Critical Inquiry, Film Quarterly, Film History and The Moving Image. Stewart has been awarded fellowships from the Shelby Cullom Davis Center for Historical Studies at Princeton University, and the New York Public Library’s Schomburg Center for Research in Black Culture Scholars-in-Residence Program. Stewart earned her PhD in English from the University of Chicago.
This venue is accessible to people with mobility disabilities. For additional accessibility requests, please contact firstname.lastname@example.org at your earliest convenience.
This event is free and open to the public. RSVP is preferred but not required and seating is available on a first-come, first-seated basis.
BCRW event, co-sponsored by Center for the Study of Gender and Sexuality at NYU and IRWGS*
(Wednesday) 6:00 pm
Event Oval, The Diana Center, Barnard College
About the Speaker Rosalyn Deutsche teaches art history at Barnard College and is the author of Evictions: Art and Spatial Politics, which investigates the politics of space in art, architecture, and
Rosalyn Deutsche teaches art history at Barnard College and is the author of Evictions: Art and Spatial Politics, which investigates the politics of space in art, architecture, and urban planning and design.
(Thursday) 4:30 pm
IRWGS Seminar Room, 754 Schermerhorn Ext
In this presentation, I wish to examine the narrative and dramatic models that presided over the writing of the first case studies of psychoanalysis in Studies on Hysteria, which appeared
In this presentation, I wish to examine the narrative and dramatic models that presided over the writing of the first case studies of psychoanalysis in Studies on Hysteria, which appeared in 1895, and were signed by Breuer and Freud. The writing of these case studies is the first writing of psychoanalysis: with Studies on Hysteria, psychoanalysis shares for the first time its clinical experience and founds a theoretical base. I will attempt to show that the writing of case studies is not neutral, that it does not come out of nowhere, that it borrows from certain schemas—especially literary—whose determinations, whose epistemological unthought (l’impensé), even, is far from being indifferent to the production of knowledge that accompanies it. The writing of case studies fashions the manner in which psychoanalysis invents itself as both, clinic and theory; it shapes the manner that psychoanalysis has of articulating theory and clinic of the unconscious.
Isabelle Alfandary is a Professor of American Literature and Critical Theory at the Université Sorbonne Nouvelle. She is President of Collège International de Philosophi.
cosponsored by CCCCT and ICLS
(Friday) 12:00 pm - 2:00 pm
754 Schermerhorn Extension
About the Speakers Guinevere Turner is a writer, director and actor who has been working in film and TV since her 1994 debut film Go Fish. Her acting roles include parts in The
Guinevere Turner is a writer, director and actor who has been working in film and TV since her 1994 debut film Go Fish. Her acting roles include parts in The Watermelon Woman, Chasing Amy, American Psycho and Treasure Island. She teamed up with director Mary Harron to write the films American Psycho and The Notorious Bettie Page. She was a writer and story editor on Showtime’s The L Word, and she played a recurring character on that show. She has written and directed seven short films, two of which premiered at the Sundance Film Festival. Her latest film, called Kill Your Ego, follows the women who killed for Charles Manson in the beginning of their long prison term, and will also be directed by Mary Harron in Fall of 2017.
Tom Kalin’s critically acclaimed work traverses diverse forms and genres including narrative features, mixed media installations and short experimental films. His first feature, Swoon, was awarded the Caligari Prize in Berlin and named one of the top 100 American Independent films by the British Film Institute. Savage Grace, starring Julianne Moore and Eddie Redmayne, premiered in Cannes, opened Zurich and screened at Sundance, London and Tribeca among many others. Nominated for a Spirit Award, it was named one of the top ten films of 2008 in Artforum, The LA Times and Paper. As a producer Kalin’s films include I Shot Andy Warhol and Go Fish. He was a writer of artist Cindy Sherman’s feature film Office Killer. He has twice been included in the Whitney Biennial. A 2011 Guggenheim Fellow, Kalin’s work is in the collection of the Centre George Pompidou, The Whitney Museum and MoMA. He was a founding member of AIDS the activist collective Gran Fury, known for its provocative public art projects, which exhibited in the Venice Biennale and had a major survey of its work in 2012 at NYU. In 2015, he and frequent collaborator Doveman (musician Thomas Bartlett) presented a gallery show in NYC at Participant titled My Silent One/In The Sweetness of Time; and at Dublin’s National Concert Hall for Blood and The Moon, an evening of film, music and performance celebrating the work of Yeats.
Professor Kalin is currently working as a Writer/Director for the feature film entitled Archer Gray,a thriller based on the novel by Stephen Dobyns.
School of the Arts event, cosponsored by English and IRWGS
(Friday) 5:30 pm - 7:30 pm
School of the Arts
Please join the Collaborative to Advance Equity through Research on women and girls of color for a conversation with Dorothy Roberts (George A. Weiss University Professor of Law and Sociology and the
Please join the Collaborative to Advance Equity through Research on women and girls of color for a conversation with Dorothy Roberts (George A. Weiss University Professor of Law and Sociology and the Raymond Pace and Sadie Tanner Mossell Alexander Professor of Civil Rights).
In celebration of the 20th Anniversary of her groundbreaking book, Killing the Black Body: Race, Reproduction, and the Meaning of Liberty. Reception and book signing to follow.
Lauren Broussard, DrPH Candidate, Mailman School of Public Health, Columbia University
Selina S. Makana, Posdoctoral Fellow, Institute for Research on Women, Gender and Sexuality, Columbia University
Alonda Nelson, Professor of Sociology and Gender Studies, Columbia University
Anthony Ureña, Ph.D. Candidate, Department of Sociology, Columbia University
Michell Knight-Manuel, Professor of Education and Associate Dean, Teachers College, Columbia University (Chair)
Please rsvp here: HonoringDorothyRoberts.eventbrite.com
Columbia Collaborative to Advance Equity through Research on Women and Girls of Color event, cosponsored the Women’s, Gender, and Sexuality Studies Council, the Institute for Research in African-American Studies, Barnard Center for Research on Women, and IRWGS
(Monday) 4:15 pm - 6:30 pm
Sulzberger Parlor (Barnard Hall, 3rd floor, Broadway and W. 117th Street)
Columbia Collaborative to Advance Equity through Research on Women and Girls of Color
Throughout his lifetime, W.E.B. Du Bois produced a prolific corpus of texts grappling with the vexed race relations America faced from Emancipation to the mid 20th century. Producing work as
Throughout his lifetime, W.E.B. Du Bois produced a prolific corpus of texts grappling with the vexed race relations America faced from Emancipation to the mid 20th century. Producing work as a sociologist, race leader, essayist, and novelist, Du Bois necessarily considers the challenges and possibilities for the black race across a number of fields. Although Du Bois traverses these fields across his lifetime, there are significant distinctions and contradistinctions between his sociological and literary work between the late 19th and early 20thcentury, especially in regards to the figure of the black woman. In this chapter, I argue that in Du Bois’s early career, although sociology predicates a patriarchal vision of black futurity, as Du Bois envisions racial uplift in more literary genres, he starts to figure black women as leaders and the feminine as a necessary resource for black futurity. In colloquium, I hope to further discuss my reading of the character of Josie featured in the chapter entitled “Of the Meaning of Progress” in The Souls of Black Folk (1903). Scholars typically approach Josie as a figure of black fatality or as a means of feminizing and subordinating the folk or black masses. I alternatively suggest that Josie’s striving and failure express the limitations of gender norms established within Du Bois’s early sociological work that are then questioned through the more literary aspects of his writing. In this colloquium members of the Columbia University community are invited to consider definitions of black futurity outside (and within) the terms of life and death, formulations of non-reproductive black maternity, and the relationship between sociological representation and literary expression of social life through close reading of Du Bois’s work. The reading for this colloquium includes a sample of the chapter (approx. 37 pages double-spaced) as well as a copy of “Of the Meaning of Progress” (approx. 10 pages single spaced) from The Souls of Black Folk.
To RSVP and receive readings, please email Erica at email@example.com
Erica Richardson is a PhD Candidate in the department of English and Comparative Literature. Her larger dissertation project focuses on how black intellectuals and authors between the 1880s and 1930s incorporate aspects of sociology into their literary production. She argues that these authors engage sociology and literature in their writing in order to configure gendered possibilities for black life in a time period of racial violence and constraint. She is currently a Literature Humanities instructor in Columbia University’s Core Curriculum and a Graduate Student Fellow at the Institute for Research on Women, Gender, and Sexuality.
(Wednesday) 4:00 pm - 6:00 pm
CSSD Seminar Room, 752 Schermerhorn Ext
About the Speaker Marcellus Blount has taught at Columbia since 1985, where he teaches American and African-American literary and cultural studies. He has held fellowships at the Carter G. Woodson Institute
Marcellus Blount has taught at Columbia since 1985, where he teaches American and African-American literary and cultural studies. He has held fellowships at the Carter G. Woodson Institute at University of Virginia, the University of Pennsylvania where he was a Rockefeller Fellow, and Harvard University at the W. E. B. Du Bois Institute. More recently he was the Sterling Brown ’22 Visiting Professor of English at Williams College. His articles have appeared in a range of journals, including PMLA and Callaloo. He co-edited Representing Black Men and, more recently, has completed “Listening for My Name: African American Men and the Politics of Friendship.” His current project is a study of issues related to race and marriage equality.
(Thursday) 5:00 pm
754 Schermerhorn Extension
About the Speaker Jack Halberstam is Visiting Professor of Gender Studies and English at Columbia University. Halberstam is the author of five books including: Skin Shows: Gothic Horror and the Technology of
Jack Halberstam is Visiting Professor of Gender Studies and English at Columbia University. Halberstam is the author of five books including: Skin Shows: Gothic Horror and the Technology of Monsters (Duke UP, 1995), Female Masculinity (Duke UP, 1998), In A Queer Time and Place (NYU Press, 2005), The Queer Art of Failure (Duke UP, 2011) and Gaga Feminism: Sex, Gender, and the End of Normal (Beacon Press, 2012) and has written articles that have appeared in numerous journals, magazines and collections. Halberstam has co-edited a number of anthologies including Posthuman Bodies with Ira Livingston (Indiana University Press, 1995) and a special issue of Social Text with Jose Munoz and David Eng titled “What’s Queer About Queer Studies Now?” Jack is a popular speaker and gives lectures around the country and internationally every year. Lecture topics include: queer failure, sex and media, subcultures, visual culture, gender variance, popular film, animation. Halberstam is currently working on several projects including a book titled WILD THING on queer anarchy, performance and protest culture, the visual representation of anarchy and the intersections between animality, the human and the environment. Halberstam is also finishing up a short book titled Trans* for UC Press, forthcoming in 2017.
Cosponsored by Heyman Center, English, and IRWGS
(Monday) 4:30 pm - 6:30 pm
The Heyman Center, Second Floor Common Room
74 Morningside Dr
Cosponsored by Heyman Center, English, and IRWGS
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