The Center for Place, Culture and Politics presents DEFINE AND RULE: Native as Political Identity A talk by Mahmood Mamdani with discussant Ali Jimale Ahmed November 12, 2012 The CUNY Graduate Center Full details: pcp.gc.cuny.edu/events/define-and-rule-mahmood-mamdani-on-colonial-statecraft/
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Mahmood Mamdani - DEFINE AND RULE: Native as Political Identity
Tagged with colonialism postcolonialism theory identity
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Dialects Changing, But Not Disappearing In Philadelphia : NPR
Researchers at the University of Pennsylvania are tracking changes in the Philadelphia accent. Reporter Zack Seward dips into archives that include more than a century’s worth of Philly natives. The researchers say most regional accents are alive and well, even in the digital age, but they’re always changing.
http://www.npr.org/2013/04/05/176368267/dialects-changing-but-not-disappearing-in-philadelphia
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Howard Rheingold: ‘Net Smart’: Forum | KQED Public Media for Northern CA
As we are increasingly inundated with information from websites like Twitter and Facebook, it’s become more and more difficult to filter out what’s important. In his new book, ‘Net Smart: How to Thrive Online,’ Howard Rheingold guides the way with tips on how to use social networks and ‘crap detection’ to figure out what’s relevant.
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Michelle H. Raheja – Redfacing Redux: The Afterlife of Native American Images
Professor Michelle H. Raheja (UC Riverside) – Redfacing Redux: The Afterlife of Native American Images For better or worse, Native American images have deeply influenced settler colonial visual culture since at least 1492. From engravings depicting the putative cannibalism and savagery of Indigenous peoples in the sixteenth through seventeenth centuries, to silent cinema and Western films in the twentieth century, to contemporary historical revisionist movies in the first decade of the twenty-first century, Native Americans have been central to European American colonial and nationalist fantasies. Indigenous peoples have also represented settler colonialism since invasion/contact as evidenced by the matachine dances and more recently in contemporary films by Native Americans that critique and re-present the distorted point of view offered up by most mainstream films. In particular, work by filmmakers such as Klee Benally, Marcelina Cárdenas, the Chiapas Media Project, Thirza Cuthand, Chris Eyre, Sterlin Harjo, Igloolik Isuma, Terry Jones, Shelley Niro, Sandra Sunrising Osawa, and many, many others has challenged entrenched stereotypes about Indigenous peoples and offered original, engaging, and insightful self-representations of historical and contemporary communities. This keynote interrogates what kind of impact, if any, this growing body of important work has had on the general public in the United States and what kind of burden we place on Indigenous filmmakers by expecting them to undo the racist imagery that has been in circulation for the past 500+ years. As I detail briefly in Reservation Reelism (2010), one week after I submitted the revisions of the manuscript to the press editor, I intimately became aware of the persistent, sometimes violent afterlife of mainstream images of Native Americans, despite the resurgence in Indigenous filmmaking during the past twenty years. In November 2008, my daughter’s public elementary school reenacted a Thanksgiving spectacle with children dressing in phantasmic redface costumes and representing Pilgrims as friendly, harmless neighbours. When I queried her school about why this practice would persist in comparison with the much less offensive methods employed to teach histories of other marginalized peoples, the ensuing uproar instigated local and national news coverage; threats of violence against my family; and various forms of electronic harassment that persisted for over a year. Although I employ a very local and personal anecdote to frame my discussion of the afterlife of images of Native Americans, I use it to open up a conversation about the mode of production of Indigenous film, its distribution, and the mass public’s recalcitrant refusal to reconsider Indigenous history through a different lens.
Tagged with native american images
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Ginsberg pt. 3
Tape 3 in an 11 tape series of a class taught by Allen Ginsberg on Expansive Poetics. Subject matter includes some discussion of the Russian Futurists and two…
http://archive.org/details/Allen_Ginsberg_Class_3_Expansive_Poetics_July_1981_81P122
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Ginsberg pt. 2
Tape 2 in an 11 tape series of a class taught by Allen Ginsberg on Expansive Poetics. Subject matter includes background on the Russian Futurists as well as…
http://archive.org/details/Allen_Ginsberg_Class_2_Expansive_Poetics_July_1981_81P121
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Ginsberg pt. 1
The first class in an Allen Ginsberg course on Expansive Poetics. Ginsberg opens the class with a brief history of the topics of courses he has taught in the…
http://archive.org/details/Allen_Ginsberg_Class_part_1_June_1981_81P113
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Bombing Savages in Law, in Fact, in Fiction - Video and audio - News and media - Home
LSE public lecture audio podcast and video media player page
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Slavoj Žižek – The Wire or the clash of civilisations in one country | Backdoor Broadcasting Company
Event Date: 24 February 2012 Clore Management Centre Birkbeck, University of London Malet Street London WC1E 7HX The Birkbeck Institute for the
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Chinese Capitalism
Global Sociology Lecture
Tagged with capitalism china
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