tag:blogger.com,1999:blog-49406483529969102152024-03-05T19:22:37.486-08:00The Postcolonial Studies Initiative (PCI) - Utrecht UniversityThe Postcolonial Studies Initiative (PCI) at Utrecht University is intended as a platform for research into postcolonial issues, specifically focused on their application within Europe.The Postcolonial Studies Initiativehttp://www.blogger.com/profile/02395871247874437619noreply@blogger.comBlogger66125tag:blogger.com,1999:blog-4940648352996910215.post-37445830972235515572024-02-27T07:00:00.000-08:002024-02-27T07:00:40.039-08:00<h2 style="text-align: left;"><span style="color: #a64d79;">NEW PUBLICATIONS</span></h2><p><br /></p><h1><span style="font-weight: normal;">Koen Leurs and Sandra Ponzanesi (eds.) </span></h1><h1>Doing Digital Migration Studies: Theories and Practices of the Everyday</h1><h1><span style="font-weight: normal;">Amsterdam University Press, 2024.</span></h1><h1><span style="font-weight: normal;"> </span></h1><h1><span style="font-weight: normal;"><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglSLpu4qC5_qYzWxWuBF-NUMfQU1VPDuXdSsrtcyiBARMqwMpFbkEH-lF03otvqsawWpa_Qiy_ZnV5Dmh9KQ0e1VybqaDx9qBltH_LTcAHS-W2Q9tCb7dxpwYCick3Zy4m35W2xIJlYqWFpBg4Dl0me0fjJ8I_4_G-9ovPC0A8vAiKm47DVQjfq0bOx28/s1368/Screenshot%202024-02-21%20at%2009.26.07.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1368" data-original-width="896" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglSLpu4qC5_qYzWxWuBF-NUMfQU1VPDuXdSsrtcyiBARMqwMpFbkEH-lF03otvqsawWpa_Qiy_ZnV5Dmh9KQ0e1VybqaDx9qBltH_LTcAHS-W2Q9tCb7dxpwYCick3Zy4m35W2xIJlYqWFpBg4Dl0me0fjJ8I_4_G-9ovPC0A8vAiKm47DVQjfq0bOx28/w263-h400/Screenshot%202024-02-21%20at%2009.26.07.png" width="263" /></a></div></div></span></h1><div><span style="font-family: inherit; font-size: medium;">Doing
Digital Migration present a comprehensive entry point to the variety of
theoretical debates, methodological interventions, political
discussions and ethical debates around migrant forms of belonging as
articulated through digital practices.
Digital technologies impact upon everyday migrant lives, while vice
versa migrants play a key role in technological developments – be it
when negotiating the communicative affordances of platforms and devices,
as consumers of particular commercial services such as sending
remittances, as platform gig workers or test cases for new advanced
surveillance technologies. With its international scope, this anthology
invites scholars to pluralize understandings of ‘the migrant’ and ‘the
digital’.
The anthology is organized in five different sections: Creative
Practices; Digital Diasporas and Placemaking; Affect and Belonging;
Visuality and digital media and Datafication, Infrastructuring, and
Securitization. These sections are dedicated to emerging key topics and
debates in digital migration studies, and sections are each introduced
by international experts.</span></div>
<div class="simple-item-view-uri item-page-field-wrapper table">
<h5><span style="font-family: inherit; font-size: small;">URI: <span style="font-weight: normal;"><span><a href="https://library.oapen.org/handle/20.500.12657/87673">https://library.oapen.org/handle/20.500.12657/87673</a></span></span></span>
</h5></div>
<div class="item-page-field-wrapper">
<h5><span style="font-family: inherit; font-size: small;">Keywords: <span style="font-weight: normal;">Migration, belonging, digital practices, digital migration studies, diaspora</span></span></h5></div>
<h5><span style="font-family: inherit; font-size: small;">DOI: <span style="font-weight: normal;">10.5117/9789463725774</span></span></h5><span class="x193iq5w xeuugli x13faqbe x1vvkbs xlh3980 xvmahel x1n0sxbx x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto"><div dir="auto" style="text-align: start;"><span style="font-family: inherit; font-size: small;">Open access via these links: <span><a class="x1i10hfl xjbqb8w x1ejq31n xd10rxx x1sy0etr x17r0tee x972fbf xcfux6l x1qhh985 xm0m39n x9f619 x1ypdohk xt0psk2 xe8uvvx xdj266r x11i5rnm xat24cr x1mh8g0r xexx8yu x4uap5 x18d9i69 xkhd6sd x16tdsg8 x1hl2dhg xggy1nq x1a2a7pz xt0b8zv x1fey0fg" href="https://www.aup.nl/.../doing-digital-migration-studies?fbclid=IwAR0zelvJRE0q3IM_on-3EreaATs2wiZhmBnefoGiIYlqjHH-EZoBx1MoBQ0" rel="nofollow noreferrer" role="link" tabindex="0" target="_blank">https://www.aup.nl/.../doing-digital-migration-studies</a></span></span></div><div dir="auto" style="text-align: start;"><span style="font-family: inherit; font-size: small;">For individual contributions see also: <span><a class="x1i10hfl xjbqb8w x1ejq31n xd10rxx x1sy0etr x17r0tee x972fbf xcfux6l x1qhh985 xm0m39n x9f619 x1ypdohk xt0psk2 xe8uvvx xdj266r x11i5rnm xat24cr x1mh8g0r xexx8yu x4uap5 x18d9i69 xkhd6sd x16tdsg8 x1hl2dhg xggy1nq x1a2a7pz xt0b8zv x1fey0fg" href="https://www.jstor.org/stable/jj.11895524?fbclid=IwAR1cwIBQJyirXDlYweeGr1tT2GaDyrjku3nUujS4iybLNj4WABx_JH5VYjE" rel="nofollow noreferrer" role="link" tabindex="0" target="_blank">https://www.jstor.org/stable/jj.11895524</a></span></span></div></span><p></p>Sandra Ponzanesihttp://www.blogger.com/profile/11134569559515878598noreply@blogger.comtag:blogger.com,1999:blog-4940648352996910215.post-7936464839595779292023-09-05T04:07:00.000-07:002023-09-05T04:07:15.695-07:00<p> NEW PUBLICATION</p><p><br /></p><p class="MsoNormal" style="-webkit-text-stroke-width: 0px; caret-color: rgb(33, 33, 33); color: #212121; font-family: Calibri, sans-serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; margin: 0cm; text-align: center; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: x-large;">Creating Europe from the Margins.<br />Mobilities and Racism in Postcolonial Europe</span><br /> </p><p class="MsoNormal" style="-webkit-text-stroke-width: 0px; caret-color: rgb(33, 33, 33); color: #212121; font-family: Calibri, sans-serif; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; margin: 0cm; text-align: center; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: large;">Edited By Kristín Loftsdóttir, Brigitte Hipfl, Sandra Ponzanesi<br />Routledge, August 2023<br /><a href="https://doi.org/10.4324/9781003269748" style="color: #0078d7; text-decoration: underline;" title="https://doi.org/10.4324/9781003269748">https://doi.org/10.4324/9781003269748</a></span></p><p class="MsoNormal" style="-webkit-text-stroke-width: 0px; caret-color: rgb(33, 33, 33); color: #212121; font-family: Calibri, sans-serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; margin: 0cm; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"> <br /></p><p class="MsoNormal" style="-webkit-text-stroke-width: 0px; caret-color: rgb(33, 33, 33); color: #212121; font-family: Calibri, sans-serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; margin: 0cm; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"></p><p class="MsoNormal" style="-webkit-text-stroke-width: 0px; caret-color: rgb(33, 33, 33); color: #212121; font-family: Calibri, sans-serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; margin: 0cm; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"></p><p class="MsoNormal" style="-webkit-text-stroke-width: 0px; caret-color: rgb(33, 33, 33); color: #212121; font-family: Calibri, sans-serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; margin: 0cm; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"></p><p class="MsoNormal" style="-webkit-text-stroke-width: 0px; caret-color: rgb(33, 33, 33); color: #212121; font-family: Calibri, sans-serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; margin: 0cm; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"></p><p class="MsoNormal" style="-webkit-text-stroke-width: 0px; caret-color: rgb(33, 33, 33); color: #212121; font-family: Calibri, sans-serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; margin: 0cm; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6zvYu0DqW71IdZ9EKmNPk9O1ww10mBzlg5o5rZ02_mWysYtcwq5hoyCEc4GgBP_eQKsXdoNrP5CpofoiDJLiex3m1RMhr1ni2rtDFgoq06Smq1-z6QJkTA2e-C4jpw2IhQWhb8dDGssaSaQCFapKyY9CGdcTiBZCZ1P2n0rEdz-wCT8cHaT6mkMjpjN4/s346/CreatingEuropeCover1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="346" data-original-width="229" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6zvYu0DqW71IdZ9EKmNPk9O1ww10mBzlg5o5rZ02_mWysYtcwq5hoyCEc4GgBP_eQKsXdoNrP5CpofoiDJLiex3m1RMhr1ni2rtDFgoq06Smq1-z6QJkTA2e-C4jpw2IhQWhb8dDGssaSaQCFapKyY9CGdcTiBZCZ1P2n0rEdz-wCT8cHaT6mkMjpjN4/w265-h400/CreatingEuropeCover1.jpg" width="265" /></a></div><br /><p class="MsoNormal" style="-webkit-text-stroke-width: 0px; caret-color: rgb(33, 33, 33); color: #212121; font-family: Calibri, sans-serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; margin: 0cm; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"><br /> </p><p class="MsoNormal" style="-webkit-text-stroke-width: 0px; caret-color: rgb(33, 33, 33); color: #212121; font-family: Calibri, sans-serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; margin: 0cm; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"> </p><p class="MsoNormal" style="-webkit-text-stroke-width: 0px; caret-color: rgb(33, 33, 33); color: #212121; font-family: Calibri, sans-serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; margin: 0cm; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">BOOK ABSTRACT<br />This edited volume explores the idea of Europe through a focus on its margins. The chapters in the volume inquire critically into the relations and tensions inherent in divisions between the Global North and the Global South as well as internal regional differentiation within Europe itself. In doing so, the volume stresses the need to consider Europe from critical interdisciplinary perspectives, highlighting historical and contemporary issues of racism and colonialism.<br />While recent discussions of migration into ‘Fortress Europe’ seem to assume that Europe has clearly demarcated geographic, political and cultural boundaries, this book argues that the reality is more complex. The book explores margins conceptually and positions margins and centres as open to negotiation and contestation and characterized by ambiguity.<span class="Apple-converted-space"> </span><br />As such, margins can be contextualized in relation to hierarchies within Europe, with different processes involved in creating boundaries and borders between different kinds of Europes and Europeans. Deploying case studies from different places, such as Iceland, Italy, Poland, Spain, Turkey, the UK, Romania, Cyprus, Greece, Sicily, European colonies in the Caribbean and the former Yugoslavia, the contributors analyse how different geopolitical hierarchies intersect with racialized subject<span class="Apple-converted-space"> </span><br />positions of diverse people living in Europe, while also exploring<span class="Apple-converted-space"> </span><br />issues of gender, class, sexuality, religion and nationality. Some<span class="Apple-converted-space"> </span><br />chapters draw attention to the fortification of Europe’s ‘borderland,’ while others focus on internal hierarchies within Europe, critiquing the meaning of spatial boundaries in an increasingly digitalized Europe. In doing so, the chapters interrogate the hierarchies at play in the processes of being and becoming ‘European’ and the ongoing impacts of race and colonialism.<br />This timely and thought-provoking collection will be of considerable significance to those in the humanities and social sciences with an interest in Europe.<br /><br />+++<br />TOC<br /><br />Creating Europe from the Margins<br />Introduction<br />By Kristín Loftsdóttir, Brigitte Hipfl, Sandra Ponzanesi<br />chapter 2|16 pages<br /><br />Articulating Europe from the Sephardic Margin<br />Restoring Citizenship for Expulsed Jews, and Not Muslims, in Spain?<br />By Maribel Casas-Cortés, Sebastian Cobarrubias Baglietto<br />chapter 3|18 pages<br /><br />Racist and Imperial Genealogies in LGBT-free Zones and Struggles over Europe in Poland<br />By Paweł Lewicki<br /><br />chapter 4|18 pages<br />‘From Nowhere to Nowhere’ – Mapping Trajectories of Belonging within the Post-Yugoslav Field<br />By Milica Trakilović<br /><br />chapter 5|15 pages<br />A Crossroads of the World on the Margins of Europe<br />Migration and Sicilian Liminality<br />By Antonio Sorge<br /><br />chapter 6|16 pages<br />Digital Media and Migration<br />Reflections from the Southern Margins of Europe<br />By Claudia Minchilli, Sandra Ponzanesi<br /><br />chapter 7|17 pages<br />Gay Bod<br />Civic and LGBTQ+ Pride after Brexit in a City on the Margins of the UK and Europe<br />By Catherine Baker, Michael Howcroft<br /><br />chapter 8|15 pages<br />Marginalized Bodies in Caribbean Europe<br />Between Vital Inequalities and Health (Im)mobilities<br />By Corinna Di Stefano, Fabio Santos, Manuela Boatcă<br /><br />chapter 9|17 pages<br />Marketing Marginality<br />Creating Iceland as a White Privileged Destination<br />By Kristín Loftsdóttir<br /><br />chapter 10|17 pages<br />Making Europe from Below<br />Intra EU-Migration and Mobilities Connecting the Margins<br />By Ignacio Fradejas-García, José Luis Molina, Miranda J. Lubbers<br /><br />chapter 11|19 pages<br />When the Margins Enter the Centre<br />The Documentary Along the Borders of Turkey and Its YouTube Comments as Conflicting Constructions of Europeanity<br />By Nico Carpentier, Vaia Doudaki<br />Open access chapter, downloadable at:<br /><a href="https://www.taylorfrancis.com/.../margins-enter-centre" style="color: #0078d7; text-decoration: underline;" title="https://www.taylorfrancis.com/.../margins-enter-centre">https://www.taylorfrancis.com/.../margins-enter-centre</a>...<br /><br />chapter 12|16 pages<br />Beating the Border<br />Playing with Migrant Experiences and Borderveillant Spectatorship in Channel 4's Smuggled (2019)<br />By Lennart Soberon, Kevin Smets<br /><br />Discount available: 20% Discount Available - enter the code EFL03 at checkout*<span lang="EN-US" style="font-size: 11pt; line-height: 1.2;"></span></p><p class="MsoNormal" style="-webkit-text-stroke-width: 0px; caret-color: rgb(33, 33, 33); color: #212121; font-family: Calibri, sans-serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; margin: 0cm; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"><span style="font-size: 11pt; line-height: 1.2;"> </span></p><p></p>Sandra Ponzanesihttp://www.blogger.com/profile/11134569559515878598noreply@blogger.comtag:blogger.com,1999:blog-4940648352996910215.post-57289900206639067702023-04-18T00:19:00.005-07:002023-04-18T00:19:52.788-07:00ONLINE BOOK LAUNCH: Postcolonial Publics<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiofYtYI2k91_7VsiCOHU1Nr6kws5ABL4dV2H9QIox-RfIVM4S_qBhO7MzGofqm-3yCRqJd4T2AMjybSqN_HUPyS45dDEPVayoGqolLQdw1M_ibD6-B9mYCpJ4zXFepMuZLCfN-4uoGjhbU-pXPnet7q8NQRcljPKSwGz6M2c6YnoGf_gdJSKU8O9F7/s1966/Screenshot%202023-04-18%20at%2009.12.15.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="1966" height="191" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiofYtYI2k91_7VsiCOHU1Nr6kws5ABL4dV2H9QIox-RfIVM4S_qBhO7MzGofqm-3yCRqJd4T2AMjybSqN_HUPyS45dDEPVayoGqolLQdw1M_ibD6-B9mYCpJ4zXFepMuZLCfN-4uoGjhbU-pXPnet7q8NQRcljPKSwGz6M2c6YnoGf_gdJSKU8O9F7/w538-h191/Screenshot%202023-04-18%20at%2009.12.15.png" width="538" /></a></div><p></p><p></p><p> </p><h1 style="color: crimson; display: block; font-family: 'Helvetica Neue', Helvetica, Arial, Verdana, sans-serif; font-size: 26px; font-style: normal; font-weight: bold; letter-spacing: normal; line-height: 125%; margin: 0; padding: 0; text-align: left;">Online Book Launch: <em>Postcolonial Publics: Art and Citizen Media in Europe</em></h1>
<br />
<strong>9 May 2023, 17.00-19.00</strong><br />
<strong><a href="https://edizionicafoscari.unive.it/en/edizioni4/libri/978-88-6969-678-7/" style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; color: crimson; font-weight: normal; mso-line-height-rule: exactly; text-decoration: underline;" target="_blank">Postcolonial Publics: Art and Citizen Media in Europe</a><br />
Edited by Bolette B. Blaagaard, Sabrina Marchetti, Sandra Ponzanesi and Shaul Bassi<br />
Published by Edizioni Ca' Foscari/Venice University Press, 2023</strong><br />
<div style="text-align: justify;">
<p style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; color: #202020; font-family: Helvetica; font-size: 14px; line-height: 150%; margin: 10px 0; mso-line-height-rule: exactly; padding: 0; text-align: justify;"><img align="right" alt="cover" height="300" src="https://edizionicafoscari.unive.it/media/covers/books/978-88-6969-678-7/cover.png" style="-ms-interpolation-mode: bicubic; border: 0px; height: 300px; margin: 0px 0px 10px 10px; outline: none; text-decoration: none; width: 208px;" width="208" /><em>Postcolonial Publics: Art and Citizen Media in Europe</em> presents
a collection of sixteen chapters that explore the themes of how
migrants, refugees and citizens express and share their political and
social causes and experiences through art and media. These expressions,
which we term ‘citizen media’, arguably become a platform for
postcolonial intellectuals as the studies pursued in this volume
investigate the different ways in which previously excluded social
groups regain public voice. The volume strives to understand the
different articulations of migrants’, refugees’, and citizens’ struggle
against increasingly harsh European politics that allow them to achieve
and empower political subjectivity in a mediated and creative space. In
this way, the contributions in this volume present case studies of
citizen media in the form of ‘activistic art’ or ‘artivism’ (Trandafoiu,
Ruffini, Cazzato & Taronna, Koobak & Tali, Negrón-Muntaner),
activism through different kinds of technological media (Chouliaraki and
Al-Ghazzi, Jedlowski), such as documentaries and film (Denić),
podcasts, music and soundscapes (Romeo and Fabbri, Western, Lazzari,
Huggan), and activisms through writings from journalism to fiction
(Longhi, Concilio, Festa, De Capitani). The volume argues that citizen
media go hand in hand with postcolonial critique because of their shared
focus on the deconstruction and decolonisation of Western logics and
narratives. Moreover, both question the concept of citizen and of
citizenship as they relate to the nation-state and explores the power of
media as a tool for participation as well as an instrument of political
strength. The book forwards postcolonial artivism and citizen media as a
critical framework to understand the refugee and migrant situations in
contemporary Europe.<br />
<br />
<strong>Speakers: </strong></p>
<ul><li style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; mso-line-height-rule: exactly; text-align: justify;">Bolette B. Blaagaard</li><li style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; mso-line-height-rule: exactly; text-align: justify;">Sabrina Marchetti</li><li style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; mso-line-height-rule: exactly; text-align: justify;">Sandra Ponzanesi</li><li style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; mso-line-height-rule: exactly; text-align: justify;">Shaul Bassi</li></ul>
<p style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; color: #202020; font-family: Helvetica; font-size: 14px; line-height: 150%; margin: 10px 0; mso-line-height-rule: exactly; padding: 0; text-align: justify;"><br />
<strong>The book launch will feature contributions by:</strong></p>
<ul><li style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; mso-line-height-rule: exactly;">Omar Al-Ghazzi</li><li style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; mso-line-height-rule: exactly;">Carmen Concilio</li><li style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; mso-line-height-rule: exactly;">Nadia Denic</li><li style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; mso-line-height-rule: exactly;">Graham Huggan</li><li style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; mso-line-height-rule: exactly;">Gabriele Lazzari <br /></li><li style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; mso-line-height-rule: exactly;">Alessandro Jedlowski</li><li style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; mso-line-height-rule: exactly;">Frances Négron-Muntaner</li><li style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; mso-line-height-rule: exactly;">Caterina Romeo</li><li style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; mso-line-height-rule: exactly;">Ruxandra Trandafoiu</li><li style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; mso-line-height-rule: exactly;">Tom Western</li></ul>
</div>
<div style="text-align: justify;"><br /><strong>For the chapter overview and to download the PDF see <a href="https://edizionicafoscari.unive.it/en/edizioni4/libri/978-88-6969-678-7/">Here</a></strong></div><p><b>Please register</b>: <a href="https://unive.zoom.us/meeting/register/tZwucuqgrTwvH9ZCzGw4ukYLfK471gT1t5V_#/registration"><b>Here</b></a></p><p><span style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(33, 33, 33); color: #212121; display: inline !important; float: none; font-family: Calibri, sans-serif; font-size: 13.333333px; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"><span class="Apple-converted-space"> </span></span><br /></p>Sandra Ponzanesihttp://www.blogger.com/profile/11134569559515878598noreply@blogger.comtag:blogger.com,1999:blog-4940648352996910215.post-71999221409280783142023-01-30T03:37:00.005-08:002023-01-30T03:47:38.571-08:00<p style="margin-left: 80px; text-align: justify;">New Publications:<span style="color: red;"><span style="font-size: x-large;"><b><span><span style="font-family: inherit;"> </span></span></b></span></span></p><p style="margin-left: 80px; text-align: left;"><span style="color: red;"><span style="font-size: x-large;"><b><span><span style="font-family: inherit;">Postcolonial Publics: <span style="font-size: large;"> </span></span></span></b></span></span></p><p style="margin-left: 80px; text-align: left;"><span style="color: red; font-size: x-large;"><span><b><span><span style="font-family: inherit;"><span>Art and Citizen Media in Europe </span><span class="markedContent"><span dir="ltr" role="presentation" style="left: calc(var(--scale-factor)*136.06px); top: calc(var(--scale-factor)*79.09px); transform: scaleX(0.924196);"> </span></span></span></span></b></span></span></p><p style="margin-left: 40px; text-align: left;"><b><span style="font-size: medium;"><span style="font-family: inherit;"><span class="markedContent"><span dir="ltr" role="presentation" style="left: calc(var(--scale-factor)*136.06px); top: calc(var(--scale-factor)*79.09px); transform: scaleX(0.924196);"> Bolette B. Blaagaard, Sabrina Marchetti,</span><span dir="ltr" role="presentation" style="left: calc(var(--scale-factor)*136.06px); top: calc(var(--scale-factor)*88.58px); transform: scaleX(0.896888);"> Sandra Ponzanesi, Shaul Bassi</span></span></span></span></b></p><p style="margin-left: 40px; text-align: left;"><b><span style="font-size: medium;"><span style="font-family: inherit;"><span class="markedContent"><span dir="ltr" role="presentation" style="left: calc(var(--scale-factor)*136.06px); top: calc(var(--scale-factor)*88.58px); transform: scaleX(0.896888);">Ca' Foscari Edizioni/Venice University Press, 2023 <br /></span></span></span></span></b></p><p style="margin-left: 40px; text-align: left;">available open access: <span class="x193iq5w xeuugli x13faqbe x1vvkbs xlh3980 xvmahel x1n0sxbx x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto"><span><a class="x1i10hfl xjbqb8w x6umtig x1b1mbwd xaqea5y xav7gou x9f619 x1ypdohk xt0psk2 xe8uvvx xdj266r x11i5rnm xat24cr x1mh8g0r xexx8yu x4uap5 x18d9i69 xkhd6sd x16tdsg8 x1hl2dhg xggy1nq x1a2a7pz xt0b8zv x1fey0fg" href="https://doi.org/10.30687/978-88-6969-677-0?fbclid=IwAR06hwMnmAqrZc_2SVtHGib5m7cAbGDLlrY5lZOVhsYZU_rZFT54IeGOst8" rel="nofollow noopener" role="link" tabindex="0" target="_blank">http://doi.org/10.30687/978-88-6969-677-0</a></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC9i-Bw867HEBw6SwIkJsRTGf7xucp_XRoGlmbs54bZFLdBIxhSQ90um2c5OcTMwVPeA2hgpgTFfQ94fW0uKNeRJeRu3NQP9pEjiJAVWsO1QkLIc3oeYwUIH_DwTO9pZ_KxkU5h00BtajPf66SXFBgCyNHfcNLlVlkBPoPxwD-xj79K0Z8X2RrZBSR/s1056/PocoPublics_cover.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1056" data-original-width="735" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC9i-Bw867HEBw6SwIkJsRTGf7xucp_XRoGlmbs54bZFLdBIxhSQ90um2c5OcTMwVPeA2hgpgTFfQ94fW0uKNeRJeRu3NQP9pEjiJAVWsO1QkLIc3oeYwUIH_DwTO9pZ_KxkU5h00BtajPf66SXFBgCyNHfcNLlVlkBPoPxwD-xj79K0Z8X2RrZBSR/w446-h640/PocoPublics_cover.png" width="446" /></a></div><br /><p><i>Postcolonial Publics: Art and Citizen Media in Europe</i> presents a
collection of sixteen chapters that explore the themes of how migrants,
refugees and citizens express and share their political and social
causes and experiences through art and media. These expressions, which
we term ‘citizen media’, arguably become a platform for postcolonial
intellectuals as the studies pursued in this volume investigate the
different ways in which previously excluded social groups regain public
voice. The volume strives to understand the different articulations of
migrants’, refugees’, and citizens’ struggle against increasingly harsh
European politics that allow them to achieve and empower political
subjectivity in a mediated and creative space. In this way, the
contributions in this volume present case studies of citizen media in
the form of ‘activistic art’ or ‘artivism’ (Trandafoiu, Ruffini, Cazzato
& Taronna, Koobak & Tali, Negrón-Muntaner), activism through
different kinds of technological media (Chouliaraki and Al-Ghazzi,
Jedlowski), such as documentaries and film (Denić), podcasts, music and
soundscapes (Romeo and Fabbri, Western, Lazzari, Huggan), and activisms
through writings from journalism to fiction (Longhi, Concilio, Festa, De
Capitani). The volume argues that citizen media go hand in hand with
postcolonial critique because of their shared focus on the
deconstruction and decolonisation of Western logics and narratives.
Moreover, both question the concept of citizen and of citizenship as
they relate to the nation-state and explores the power of media as a
tool for participation as well as an instrument of political strength.
The book forwards postcolonial artivism and citizen media as a critical
framework to understand the refugee and migrant situations in
contemporary Europe.</p><p> </p><p></p><br /><br /> <p></p>Sandra Ponzanesihttp://www.blogger.com/profile/11134569559515878598noreply@blogger.comtag:blogger.com,1999:blog-4940648352996910215.post-63285026307324860462022-07-11T06:21:00.000-07:002022-07-11T06:21:31.817-07:00<p>
</p><h1><span lang="EN-GB" style="font-weight: normal; mso-ansi-language: EN-GB;">Launch:</span></h1>
<h1><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Digital Atlas of
Postcolonial Europe: Postcolonial Intellectuals</span></h1>
<p class="MsoNormal"><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> <br /></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-GB;">During the final PIN conference in Venice, 26-27 May
2022, the data visualization project</span></p>
<h1><span lang="EN-GB" style="font-size: 12pt; mso-ansi-language: EN-GB;">Digital
Atlas of Postcolonial Europe: Postcolonial Intellectuals </span><span lang="EN-GB" style="font-size: 12pt; font-weight: normal; mso-ansi-language: EN-GB;">was
launched.</span></h1>
<p class="MsoNormal"><span lang="EN-GB" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-GB;">It can now be found here<b>: </b></span><span lang="EN-US"><a href="https://atlas.hum.uu.nl/index"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">https://atlas.hum.uu.nl/index</span></a></span></p><p class="MsoNormal"><span lang="EN-US"><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span lang="EN-US"><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6txC0PsAY4JQItJPDFZ8nCKrKKBlkOjxkK2eW3Lhd-_eA1Aaz40xeb6Om5ox4qM0yWiO1iqBGyYfyVE1Kksl5WWoyewlvkj14_1r7EmhgDFyVox5pyIUJcRXqFiEbIjUc6oY_EYWZvSOgjnrUElINNwYWyjKbhmOySoRMJiJfUyTmlWH6j7a71PNg/s2698/Screenshot%202022-07-11%20at%2015.17.12.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1328" data-original-width="2698" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6txC0PsAY4JQItJPDFZ8nCKrKKBlkOjxkK2eW3Lhd-_eA1Aaz40xeb6Om5ox4qM0yWiO1iqBGyYfyVE1Kksl5WWoyewlvkj14_1r7EmhgDFyVox5pyIUJcRXqFiEbIjUc6oY_EYWZvSOgjnrUElINNwYWyjKbhmOySoRMJiJfUyTmlWH6j7a71PNg/w527-h259/Screenshot%202022-07-11%20at%2015.17.12.png" width="527" /></a></span></span></div><p></p>
<p class="MsoNormal"><span lang="EN-GB" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-GB; mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span><span lang="EN-GB" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-GB;"></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-GB;"> </span></p>
<p class="MsoNormal"><span lang="EN-GB" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-GB; mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span><span lang="EN-GB" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-GB;"></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-GB;"></span></p><div class="separator" style="clear: both; text-align: center;"><span lang="EN-GB" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-GB;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHHJRSH3Q5HxwenwQ97fJMbxQeeA6_eCkQuE-YjwrFaxZliw12zZFnamtDUMkQdZP99flUhS3zTbLU_TMVQGsXD9nNI69FTyBRieicrMp8P8jBhJx-6Jer2SaiJyNM3K5ucab99xZOlHwIWYeiNYnTj5fwZubl_di7On7LPMfoa_2FMQL81ZaMOhUB/s3316/Screenshot%202022-07-11%20at%2015.10.01.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1640" data-original-width="3316" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHHJRSH3Q5HxwenwQ97fJMbxQeeA6_eCkQuE-YjwrFaxZliw12zZFnamtDUMkQdZP99flUhS3zTbLU_TMVQGsXD9nNI69FTyBRieicrMp8P8jBhJx-6Jer2SaiJyNM3K5ucab99xZOlHwIWYeiNYnTj5fwZubl_di7On7LPMfoa_2FMQL81ZaMOhUB/w518-h256/Screenshot%202022-07-11%20at%2015.10.01.png" width="518" /></a></span></div><span lang="EN-GB" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-GB;"><br /> </span><p></p><span lang="EN-GB" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-GB;"> </span><span lang="EN-GB" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-GB;">The Digital Atlas of Europe aims to visualize the connections
of postcolonial intellectuals across time and space, within and beyond Europe.
It offers a symbolic selection of major postcolonial figures whose presence and
impact in the public sphere are visualized through three categories: LIFE, WORK
and LEGACY. <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUWOC796cu14qugRWWD5ENKhR8AUHD4L56v9HReZTpp5nGfcCCl8XSFa7Yy64db4cx1i8GL4EqHP_JBLnLxY4JuoAA2V9Lr5qWvhdKEb9t-S3Im53cRCDJKEKdrak-Fl4m6RpfY-a2gx2ww0KhpkSGN_ZB7fvE_A-4Z0nvNqmV0KX2ac7pIsGTRccR/s544/Screenshot%202022-07-11%20at%2015.12.38.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="144" data-original-width="544" height="43" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUWOC796cu14qugRWWD5ENKhR8AUHD4L56v9HReZTpp5nGfcCCl8XSFa7Yy64db4cx1i8GL4EqHP_JBLnLxY4JuoAA2V9Lr5qWvhdKEb9t-S3Im53cRCDJKEKdrak-Fl4m6RpfY-a2gx2ww0KhpkSGN_ZB7fvE_A-4Z0nvNqmV0KX2ac7pIsGTRccR/w163-h43/Screenshot%202022-07-11%20at%2015.12.38.png" width="163" /></a></div><br />These categories aim to capture</span><span lang="EN-GB" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> major highlights in their
biography and career (birth, academic affiliations), work across different
genres and media (articles, books, public lectures, media appearances, films
etc.) and legacy, namely the reception, dissemination and afterlife of their
work and their influence (dedicated libraries, foundations, critical reception of
their work, films and documentaries, obituaries, conferences etc.). The idea was
to create a mobile data assemblage that shows crossings and connections,
visualized through a timeline and a map.</span>
<p class="MsoNormal"><span lang="EN-GB" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><span style="mso-spacerun: yes;"> see here: <a href="https://www.uu.nl/en/news/launch-of-digital-atlas-of-europe-postcolonial-intellectuals">https://www.uu.nl/en/news/launch-of-digital-atlas-of-europe-postcolonial-intellectuals</a></span></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-GB; mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span><span lang="EN-GB" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-GB;"></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 1;"><b><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 24pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt;">Postcolonial
Intellectuals and their European Public (PIN) </span></b></p>
<p class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-GB" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">PIN is a project
funded by the Dutch Research Council (NWO) in the Internationalisation in the
Humanities programme. See here: </span><span lang="EN-US"><a href="https://www.nwo.nl/en/projects/ig18014"><span lang="EN-GB" style="color: blue; font-family: "Times New Roman",serif; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">https://www.nwo.nl/en/projects/ig18014</span></a></span><span lang="EN-GB" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-GB" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">The data
visualization project is funded by NWO and was carried out in collaboration
with Utrecht University Digital Humanities Lab. Sandra Ponzanesi and Julia de
Lange coordinated the project, in collaboration with the many PIN members who
contributed to the data collection. See here for more info:
https://atlas.hum.uu.nl/about</span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-GB" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> </span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-GB" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> </span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-GB" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> </span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span lang="EN-GB" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> </span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><b><span lang="EN-GB" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> </span></b></p>
<p class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><b><span lang="EN-GB" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> </span></b></p>
<p class="MsoNormal"><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></p>
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{page:WordSection1;}</style></p>Sandra Ponzanesihttp://www.blogger.com/profile/11134569559515878598noreply@blogger.comtag:blogger.com,1999:blog-4940648352996910215.post-15893274782432829462022-06-06T02:56:00.005-07:002022-06-06T02:56:54.781-07:00<p> </p><h3 class="post-title entry-title" itemprop="name">
Publication:
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</div><br /><h2 style="display: block; font-family: "Helvetica Neue", Helvetica, Arial, Verdana, sans-serif; font-size: 18px; font-style: normal; letter-spacing: normal; line-height: 125%; margin: 0px; padding: 0px; text-align: center;"><span style="font-weight: normal;">Special Issue: </span></h2><h2 style="color: crimson; display: block; font-family: "Helvetica Neue", Helvetica, Arial, Verdana, sans-serif; font-size: 18px; font-style: normal; font-weight: bold; letter-spacing: normal; line-height: 125%; margin: 0px; padding: 0px; text-align: center;"> </h2><h2 style="color: crimson; display: block; font-family: "Helvetica Neue", Helvetica, Arial, Verdana, sans-serif; font-style: normal; font-weight: bold; letter-spacing: normal; line-height: 125%; margin: 0px; padding: 0px; text-align: center;"><span style="font-size: large;">Digital Migration Practices and the Everyday</span></h2><p style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; color: #202020; font-family: Helvetica; font-size: 14px; line-height: 150%; margin: 10px 0px; mso-line-height-rule: exactly; padding: 0px; text-align: left;"><br />
</p><p style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; color: #202020; font-family: Helvetica; font-size: 14px; line-height: 150%; margin: 10px 0px; mso-line-height-rule: exactly; padding: 0px; text-align: center;"><b>Guest editors: Sandra Ponzanesi and Koen Leurs<br />
</b><i>Communication, Culture & Critique, </i>15(2), 2022: 103-298. </p><p style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; color: #202020; font-family: Helvetica; font-size: 14px; line-height: 150%; margin: 10px 0px; mso-line-height-rule: exactly; padding: 0px; text-align: center;"> <a contenteditable="false" href="https://academic.oup.com/ccc/issue/15/2" style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; font-family: Calibri; font-size: 14.666666984558105px; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;" title="https://academic.oup.com/ccc/issue/15/2">https://academic.oup.com/ccc/issue/15/2</a></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjqOdUySb-N93ETaRBE-ZYRlS9vQT8m1gtx-IQ5UoL_-V1foNZQHryocppU3-F7TJLgmkiubyfWfp3tpanHoSziCl_VCorFdQ-YWvv7PqgGyfsvtE9YbbmaOInRmYGteI04-PnYxn8_YLJLb68bMfb0MbMKJSSTztRqk9HIr-XeTM__JsFe1MRVocm/s753/SI_CCC_Cover_jpeg.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="753" data-original-width="520" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjqOdUySb-N93ETaRBE-ZYRlS9vQT8m1gtx-IQ5UoL_-V1foNZQHryocppU3-F7TJLgmkiubyfWfp3tpanHoSziCl_VCorFdQ-YWvv7PqgGyfsvtE9YbbmaOInRmYGteI04-PnYxn8_YLJLb68bMfb0MbMKJSSTztRqk9HIr-XeTM__JsFe1MRVocm/s320/SI_CCC_Cover_jpeg.jpeg" width="221" /></a></div><br /><h2 style="display: block; font-family: "Helvetica Neue", Helvetica, Arial, Verdana, sans-serif; font-size: 18px; font-style: normal; letter-spacing: normal; line-height: 125%; margin: 0px; padding: 0px; text-align: center;"><span style="font-weight: normal;"> </span></h2><h2 style="display: block; font-family: "Helvetica Neue", Helvetica, Arial, Verdana, sans-serif; font-size: 18px; font-style: normal; letter-spacing: normal; line-height: 125%; margin: 0px; padding: 0px; text-align: center;"><span style="font-weight: normal;">
</span></h2><p class="MsoNormal" style="text-align: justify;"><span style="font-family: "Times New Roman",serif; mso-ansi-language: #0C00; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">This
special issue explores the role that digital technology plays in the lives of
migrants. It does so by paying close attention to governmental and
supranational organizations as well as to subjective and affective dimensions
of the everyday. Digital migration practices emerge as complex negotiations in
the digital media sphere between infrastructural bias and agential opportunities,
contesting racial practices as well as enabling digitally mediated bonds of
solidarity and intimacy. The issue offers nuanced critical perspectives ranging
from surveillance capitalism, extractive humanitarianism, datafication, and
border regimes to choreographies of care and intimacy in transnational
settings, among other aspects. Renowned international scholars reflect on these
issues from different vantage points. The closing forum section provides
state-of-the-art commentaries on digital diaspora, affect and belonging, voice
and visibility in the digital media sphere, queer migrant interventions in
non-academic settings, and datafication and media infrastructures in “deep
time.”</span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family: "Times New Roman",serif; mso-ansi-language: #0C00; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> </span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family: "Times New Roman",serif; mso-ansi-language: #0C00; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">
</span></p><p class="MsoNormal" style="line-height: 115%; text-align: justify;"><b><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;">Sandra
Ponzanesi and Koen Leurs</span></b></p>
<p class="MsoNormal" style="line-height: 115%;"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;">Digital
Migration Practices and the Everyday </span></i><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;">(open access)</span><i><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"><br /></span></i></p><p class="MsoNormal" style="line-height: 115%;"><span style="font-size: small;"><span style="font-family: times;"><a data-google-interstitial="false" href="https://doi-org.proxy.library.uu.nl/10.1093/ccc/tcac016">https://doi-org.proxy.library.uu.nl/10.1093/ccc/tcac016</a></span></span><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;">
<span style="color: red;"></span></span></p>
<p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"> </span></p>
<p class="MsoNormal" style="line-height: 115%; text-align: justify;"><b><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;">Paul
Giroy - </span></b><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;">University College
London, UK </span><i><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"></span></i><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;">(open access)</span><i><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"> </span></i><span style="font-family: times;"><a class="viewArticleLink" href="https://academic-oup-com.proxy.library.uu.nl/ccc/article-abstract/15/2/122/6565345">View article</a></span><i><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"></span></i></p>
<p class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><i><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;">Working with
“Wogs”: Aliens, Denizens and the Machinations of Denialism</span></i></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="font-family: times;"><a data-google-interstitial="false" href="https://doi-org.proxy.library.uu.nl/10.1093/ccc/tcac012">https://doi-org.proxy.library.uu.nl/10.1093/ccc/tcac012</a></span></p><p class="MsoNormal" style="line-height: 115%;"><b><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"></span></b></p>
<p class="MsoNormal" style="line-height: 115%;"><b><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"> </span></b></p><p class="MsoNormal" style="line-height: 115%;"><b><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;">Nicholas
De Genova</span></b><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"> - University of Houston,
USA<span style="font-family: times;"> </span></span><span style="font-family: times;"><a class="viewArticleLink" href="https://academic-oup-com.proxy.library.uu.nl/ccc/article-abstract/15/2/139/6562973">View article</a></span><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"></span></p>
<p><i><span lang="EN-US" style="font-family: "Times New Roman",serif;">Viral borders:<span style="mso-spacerun: yes;"> </span>Migration, Deceleration, and the Re-Bordering
of Mobility During the COVID-19 Pandemic</span></i><b><span lang="EN-US" style="font-family: "Times New Roman",serif;"></span></b> <a data-google-interstitial="false" href="https://doi-org.proxy.library.uu.nl/10.1093/ccc/tcac009">https://doi-org.proxy.library.uu.nl/10.1093/ccc/tcac009</a> <br /></p><p> </p><p class="MsoNormal" style="line-height: 115%;"><b><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;">Saskia
Witteborn - </span></b><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;">The Chinese University of
Hong Kong </span><span style="font-family: times;"><a class="viewArticleLink" href="https://academic-oup-com.proxy.library.uu.nl/ccc/article-abstract/15/2/157/6570646">View article</a></span></p>
<p class="MsoNormal" style="line-height: 115%;"><i><span style="color: black; font-family: "Times New Roman",serif; line-height: 115%; mso-ansi-language: #0C00; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">D</span></i><i><span style="color: black; font-family: "Times New Roman",serif; line-height: 115%; mso-ansi-language: #0C00; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">igitalization, </span></i><i><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Digitization and D</span></i><i><span style="color: black; font-family: "Times New Roman",serif; line-height: 115%; mso-ansi-language: #0C00; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">atafication: The "Three D" Transformation of </span><span style="color: black; font-family: "Times New Roman",serif; line-height: 115%; mso-ansi-language: #0C00; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Forced Migration Management</span>.<span style="font-family: "Times New Roman",serif; line-height: 115%; mso-ansi-language: #0C00; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"></span></i><span style="font-family: times;"> <a data-google-interstitial="false" href="https://doi-org.proxy.library.uu.nl/10.1093/ccc/tcac007">https://doi-org.proxy.library.uu.nl/10.1093/ccc/tcac007</a></span></p><p class="MsoNormal" style="line-height: 115%;"><i><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"></span></i></p>
<p class="MsoNormal" style="line-height: 115%;"><b><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"> </span></b></p><p class="MsoNormal" style="line-height: 115%;"><b><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;">Martina
Tazzioli</span></b><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"> - Goldsmiths University
of London, UK </span><span style="font-family: times;"><a class="viewArticleLink" href="https://academic-oup-com.proxy.library.uu.nl/ccc/article-abstract/15/2/176/6573768">View article</a></span><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"></span></p>
<p class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; text-autospace: none;"><i><span lang="EN-GB" style="color: #2b2b2b; font-family: "Times New Roman",serif; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Extractive Humanitarianism: Participatory
Confinement and Unpaid Labour in Refugees Governmentality</span></i><span lang="EN-US"></span><span style="font-family: times;"> <a data-google-interstitial="false" href="https://doi-org.proxy.library.uu.nl/10.1093/ccc/tcac018">https://doi-org.proxy.library.uu.nl/10.1093/ccc/tcac018</a></span></p><p class="MsoNormal" style="line-height: 115%;"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"></span></i></p>
<p class="MsoNormal" style="line-height: 115%;"><b><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"> </span></b></p><p class="MsoNormal" style="line-height: 115%;"><b><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;">Roopika
Risam -</span></b><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"> Salem State University, USA </span><span style="font-family: times;"><a class="viewArticleLink" href="https://academic-oup-com.proxy.library.uu.nl/ccc/article-abstract/15/2/193/6564094">View article</a></span><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"></span></p>
<p style="line-height: 115%; text-align: justify;"><i><span style="color: black; font-family: "Times New Roman",serif; line-height: 115%; mso-ansi-language: #0C00; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Border of Affect</span></i><i><span style="color: black; font-family: "Times New Roman",serif; line-height: 115%; mso-ansi-language: #0C00; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">: Mobilizing Border Imagery as Civic Engagement</span></i></p><p style="line-height: 115%; text-align: justify;"><i><span style="color: black; font-family: "Times New Roman",serif; line-height: 115%; mso-ansi-language: #0C00; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> </span></i><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"> </span><a data-google-interstitial="false" href="https://doi-org.proxy.library.uu.nl/10.1093/ccc/tcac005">https://doi-org.proxy.library.uu.nl/10.1093/ccc/tcac005</a></p>
<p class="MsoNormal" style="line-height: 115%;"><b><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"> </span></b></p><p class="MsoNormal" style="line-height: 115%;"><b><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;">Christine
Quinan– </span></b><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;">Melbourne University,
Australia, and <b>Mina Hunt</b>, - Utrecht University, The Netherlands </span><span style="font-family: times;"><a class="viewArticleLink" href="https://academic-oup-com.proxy.library.uu.nl/ccc/article-abstract/15/2/211/6571700">View article</a></span><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"></span></p>
<p class="MsoNormal" style="line-height: 115%;"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;">Biometric
Bordering and Automatic Gender Recognition: Challenging Binary Gender Norms in Everyday Biometric Technologies</span></i></p>
<p style="line-height: 115%; text-align: justify;"><a data-google-interstitial="false" href="https://doi-org.proxy.library.uu.nl/10.1093/ccc/tcac013">https://doi-org.proxy.library.uu.nl/10.1093/ccc/tcac013</a><b><span lang="EN-US" style="font-family: "Times New Roman",serif;"></span></b></p><p style="line-height: 115%; text-align: justify;"> </p>
<p style="line-height: 115%; text-align: justify;"><b><span lang="EN-US" style="font-family: "Times New Roman",serif;">Larissa Hjorth - </span></b><span lang="EN-US" style="font-family: "Times New Roman",serif;">RMIT University,
Melbourne, Australia </span><span style="font-family: times;"><a class="viewArticleLink" href="https://academic-oup-com.proxy.library.uu.nl/ccc/article-abstract/15/2/227/6571687">View article</a></span><span lang="EN-US" style="font-family: "Times New Roman",serif;"></span></p>
<p class="MsoNormal" style="line-height: 115%;"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;">Careful Digital Kinship: Understanding Multispecies Digital Kinship, Choreographies of
Care and Older Adults During the Pandemic in Australia</span></i></p>
<p class="MsoNormal" style="line-height: 115%;"> <span style="font-family: times;"><a data-google-interstitial="false" href="https://doi-org.proxy.library.uu.nl/10.1093/ccc/tcac008">https://doi-org.proxy.library.uu.nl/10.1093/ccc/tcac008</a></span></p><p class="MsoNormal" style="line-height: 115%;">
</p><p class="MsoNormal" style="line-height: 115%;"><a aria-controls="abstract-6571687" aria-expanded="false" class="showAbstractLink js-show-abstract at-Show-Abstract-Link" data-abstract-type="abstract" data-articleid="6571687" data-google-interstitial="false" data-is-lay-abstract="False"></a><i><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"></span></i></p>
<p class="MsoNormal" style="line-height: 115%;"><b><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;">Earvin
Cabalquinto</span></b><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"> - Deakin University,
Australia </span><span style="font-family: times;"><a class="viewArticleLink" href="https://academic-oup-com.proxy.library.uu.nl/ccc/article-abstract/15/2/244/6572111">View article</a></span><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"></span></p>
<p class="MsoNormal" style="line-height: 115%;"><i><span style="color: black; font-family: "Times New Roman",serif; line-height: 115%; mso-ansi-language: #0C00; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">“Come On, Put Viber, We Can Drink Coffee Together”: The Ageing Migrant’s
(Im)mobile Intimacy in Turbulent Times" </span></i><i><span style="font-family: "Times New Roman",serif; line-height: 115%; mso-ansi-language: #0C00; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"></span></i></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="font-family: times;"><a data-google-interstitial="false" href="https://doi-org.proxy.library.uu.nl/10.1093/ccc/tcac011">https://doi-org.proxy.library.uu.nl/10.1093/ccc/tcac011</a></span><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"></span></p>
<p class="MsoNormal" style="line-height: 115%;"><b><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"> </span></b></p>
<p class="MsoNormal" style="line-height: 115%;"><b><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;">Forum
Section:</span></b></p>
<p style="line-height: 115%; margin-left: -2.0pt;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif;"> </span></b></p>
<p style="line-height: 115%; margin-left: -2.0pt;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif;">Laura Candidatu and
Sandra Ponzanesi - </span></b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif;">Utrecht University, NL </span><span style="font-family: times;"><a class="viewArticleLink" href="https://academic-oup-com.proxy.library.uu.nl/ccc/article-abstract/15/2/261/6565888">View article</a></span><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif;"></span></p>
<p style="line-height: 115%;"><i><span lang="EN-US" style="font-family: "Times New Roman",serif;">Digital
Diaspora: Staying with the Trouble<b><span style="color: black;"> </span></b></span></i></p>
<p style="line-height: 115%; margin-left: -2.0pt;"><a data-google-interstitial="false" href="https://doi-org.proxy.library.uu.nl/10.1093/ccc/tcac010">https://doi-org.proxy.library.uu.nl/10.1093/ccc/tcac010</a><b></b></p><p style="line-height: 115%; margin-left: -2.0pt;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif;"></span></b></p>
<p style="line-height: 115%; margin-left: -2.0pt;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif;"> </span></b></p><p style="line-height: 115%; margin-left: -2.0pt;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif;">Myria Georgiou - </span></b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif;">London
School of Economics, UK </span><a class="viewArticleLink" href="https://academic-oup-com.proxy.library.uu.nl/ccc/article-abstract/15/2/269/6561482">View article</a><span lang="EN-US" style="font-family: "Times New Roman",serif;"></span></p>
<p class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; text-autospace: none;"><i><span lang="EN-GB" style="color: #2b2b2b; font-family: "Times New Roman",serif; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Digital (In-)visibilities: Spatializing and Visualizing Politics of Voice</span></i><i><span lang="EN-GB" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"> </span></i><i><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"></span></i></p>
<p class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: times;"><a data-google-interstitial="false" href="https://doi-org.proxy.library.uu.nl/10.1093/ccc/tcac003">https://doi-org.proxy.library.uu.nl/10.1093/ccc/tcac003</a></span><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"></span></b></p>
<p class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; text-autospace: none;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"> </span></b></p><p class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; text-autospace: none;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;">Lukasz Szulc - </span></b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;">University of Sheffield, UK<span style="font-family: times;"> </span></span><span style="font-family: times;"><a class="viewArticleLink" href="https://academic-oup-com.proxy.library.uu.nl/ccc/article-abstract/15/2/276/6556263">View article</a></span><span lang="EN-GB" style="color: #2b2b2b; font-family: "Times New Roman",serif; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"></span></p>
<p class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; text-autospace: none;"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;">A Lot of Straddling and Squirming. Taking Queer Migrant Stories Beyond the Academic Walls</span></i><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"></span></b></p>
<p class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; text-autospace: none;"> <span style="font-family: times;"><a data-google-interstitial="false" href="https://doi-org.proxy.library.uu.nl/10.1093/ccc/tcac006">https://doi-org.proxy.library.uu.nl/10.1093/ccc/tcac006</a></span><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"></span></b></p>
<p class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; text-autospace: none;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"> </span></b></p><p class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; text-autospace: none;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;">Realene</span></b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"> <b>Wilding</b></span><span lang="EN-US" style="color: #2b2b2b; font-family: "Times New Roman",serif; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"> </span><span lang="EN-GB" style="color: #2b2b2b; font-family: "Times New Roman",serif; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">and </span><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;">Monika Winarnita</span></b><span lang="EN-US" style="color: #2b2b2b; font-family: "Times New Roman",serif; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"> </span><b>- </b><span lang="EN-US" style="font-family: "Times New Roman",serif;">La Trobe University, Australia<span style="font-family: times;"> </span></span><span style="font-family: times;"><a class="viewArticleLink" href="https://academic-oup-com.proxy.library.uu.nl/ccc/article-abstract/15/2/283/6571686">View article</a></span><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"></span></b></p>
<p style="line-height: 115%; margin-left: -2.0pt;"><i><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif;">Affect, Creativity and Migrant Belonging </span></i></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="font-family: times;"><a data-google-interstitial="false" href="https://doi-org.proxy.library.uu.nl/10.1093/ccc/tcac015">https://doi-org.proxy.library.uu.nl/10.1093/ccc/tcac015</a></span><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"></span></b></p>
<p class="MsoNormal" style="line-height: 115%;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"> </span></b></p><p class="MsoNormal" style="line-height: 115%;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;">
</span></b></p><p class="MsoNormal"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-bidi-font-size: 12.0pt;">Koen Leurs and Philip
Seuferling - </span></b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-bidi-font-size: 12.0pt;">Utrecht University and Sodertorn University </span><span style="font-family: times;"><a class="viewArticleLink" href="https://academic-oup-com.proxy.library.uu.nl/ccc/article-abstract/15/2/290/6572110">View article</a></span><span style="font-family: "Times New Roman",serif; mso-ansi-language: #0C00; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"></span></p>
<p class="MsoNormal"><i><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-bidi-font-size: 12.0pt;">Migration and the ‘deep time’
of media infrastructures </span></i><i><span lang="EN-US" style="font-family: "Times New Roman",serif; mso-bidi-font-size: 12.0pt;"></span></i></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: -2.0pt;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; line-height: 115%; mso-bidi-font-size: 12.0pt;"></span></b><span style="font-family: times;"><b><span lang="EN-US" style="color: black; line-height: 115%;"></span></b><a data-google-interstitial="false" href="https://doi-org.proxy.library.uu.nl/10.1093/ccc/tcac019">https://doi-org.proxy.library.uu.nl/10.1093/ccc/tcac019</a></span></p>
<span style="font-family: "Times New Roman",serif; mso-ansi-language: #0C00; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> </span>Sandra Ponzanesihttp://www.blogger.com/profile/11134569559515878598noreply@blogger.comtag:blogger.com,1999:blog-4940648352996910215.post-48815386188417810842021-09-20T23:50:00.006-07:002022-06-06T02:57:08.438-07:00<p> </p><div class="grve-page-title grve-with-title grve-bg-light" data-height="200" id="grve-post-title">
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<h1 class="grve-title clearfix grve-text-dark animate-fade-in-up"><span style="font-size: medium;"><span>Conference</span></span></h1><h1 class="grve-title clearfix grve-text-dark animate-fade-in-up" style="text-align: center;"><span>Postcolonial Publics: </span></h1><h1 class="grve-title clearfix grve-text-dark animate-fade-in-up" style="text-align: center;"><span>Art and Citizen Media in Europe<span style="font-size: small;"><b> <br />Ca' Foscari, Venice</b> on the <b>26-27th of May 2022</b></span> <br /></span></h1>
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</div></div><div class="grve-single-wrapper" style="text-align: center;"><div class="grve-single-wrapper">NWO (PIN) Project:</div><a data-saferedirecturl="https://www.google.com/url?q=http://www.postcolonialstudies.nl/p/mission-statement.html&source=gmail&ust=1619697765701000&usg=AFQjCNEpEhiOIwsdvqqvfpDiTL4V3SBjbw" href="http://www.postcolonialstudies.nl/p/mission-statement.html" rel="noopener" target="_blank"> Postcolonial Intellectuals and Their European Publics Network</a> <br /></div><div class="grve-single-wrapper"> </div><div class="grve-single-wrapper"> </div><div class="grve-single-wrapper"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDfqVjxiabXX9WMHIqcn9mmV8DCIeR4a2dkTaajxr95e_5nAow68-k3zxvxOENv-wZMOdaNUI-ia9npTnCeAWJ44aPJgoEqL1ZVvHnVOnu-Y1HSENz4GVBK-bHQyF-nz54Hwf9klZfjDb0GT1-ZQpzW56kIfwA_OZCQIPgiBcz_33XY6qjDmptUq5Y/s1724/Locandina%20short.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1316" data-original-width="1724" height="390" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDfqVjxiabXX9WMHIqcn9mmV8DCIeR4a2dkTaajxr95e_5nAow68-k3zxvxOENv-wZMOdaNUI-ia9npTnCeAWJ44aPJgoEqL1ZVvHnVOnu-Y1HSENz4GVBK-bHQyF-nz54Hwf9klZfjDb0GT1-ZQpzW56kIfwA_OZCQIPgiBcz_33XY6qjDmptUq5Y/w511-h390/Locandina%20short.jpg" width="511" /></a></div></div><div class="grve-single-wrapper"> <br /></div><div class="grve-single-wrapper"><div class="clearfix" id="grve-content"><div class="grve-content-wrapper"><div id="grve-main-content"><div class="grve-main-content-wrapper clearfix"><article class="grve-single-post post-17255 post type-post status-publish format-standard has-post-thumbnail hentry category-events category-venice-events category-upcoming-events" id="post-17255" itemscope="" itemtype="http://schema.org/BlogPosting"><div id="grve-post-content"><div itemprop="articleBody"><div class="grve-section grve-fullwidth-background grve-bg-none grve-feature-header"><div class="grve-container"><div class="grve-row grve-bookmark"><div class="wpb_column grve-column grve-column-2-3"><div class="grve-element grve-text"><table border="0" cellpadding="0" cellspacing="0" class="mcnTextBlock" style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: white; border-collapse: collapse; caret-color: rgb(0, 0, 0); color: black; font-family: Calibri; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; min-width: 100%; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; width: 100%px; word-spacing: 0px;"><tbody class="mcnTextBlockOuter"><tr><td class="mcnTextBlockInner" style="padding-top: 9px;" valign="top"> </td><td class="mcnTextBlockInner" style="padding-top: 9px;" valign="top"> </td><td class="mcnTextBlockInner" style="padding-top: 9px;" valign="top"> </td><td class="mcnTextBlockInner" style="padding-top: 9px;" valign="top"><div style="text-align: left;"> <b>Keynote talks by</b>:</div><ul style="text-align: left;"><li><a contenteditable="false" href="https://postcolonialstudies.us11.list-manage.com/track/click?u=ab50c595db722886e10aad6ac&id=2797697c5e&e=6db7b5bfd3" style="color: crimson; font-weight: normal; text-decoration: underline;" target="_blank" title="https://postcolonialstudies.us11.list-manage.com/track/click?u=ab50c595db722886e10aad6ac&id=2797697c5e&e=6db7b5bfd3">Lilie Chouliaraki</a><span class="Apple-converted-space"> </span>(London School of Economics)</li><li><a contenteditable="false" href="https://postcolonialstudies.us11.list-manage.com/track/click?u=ab50c595db722886e10aad6ac&id=9dead97c22&e=6db7b5bfd3" style="color: crimson; font-weight: normal; text-decoration: underline;" target="_blank" title="https://postcolonialstudies.us11.list-manage.com/track/click?u=ab50c595db722886e10aad6ac&id=9dead97c22&e=6db7b5bfd3">Vittorio Longhi<span class="Apple-converted-space"> </span></a>(Journalist)</li><li><a contenteditable="false" href="https://postcolonialstudies.us11.list-manage.com/track/click?u=ab50c595db722886e10aad6ac&id=5ffe87166b&e=6db7b5bfd3" style="color: crimson; font-weight: normal; text-decoration: underline;" target="_blank" title="https://postcolonialstudies.us11.list-manage.com/track/click?u=ab50c595db722886e10aad6ac&id=5ffe87166b&e=6db7b5bfd3">Frances Negron-Muntaner</a><span class="Apple-converted-space"> </span>(Columbia University</li><li><a contenteditable="false" href="https://postcolonialstudies.us11.list-manage.com/track/click?u=ab50c595db722886e10aad6ac&id=c54c811ff9&e=6db7b5bfd3" style="color: crimson; font-weight: normal; text-decoration: underline;" target="_blank" title="https://postcolonialstudies.us11.list-manage.com/track/click?u=ab50c595db722886e10aad6ac&id=c54c811ff9&e=6db7b5bfd3">Andrea Segre<span class="Apple-converted-space"> </span></a>(Film director)</li></ul><table align="left" border="0" cellpadding="0" cellspacing="0" class="mcnTextContentContainer" style="border-collapse: collapse; max-width: 100%; min-width: 100%; width: 100%px;"><tbody><tr><td class="mcnTextContent" style="color: #202020; font-family: Helvetica; font-size: 14px; line-height: 21px; padding: 0px 18px 9px; text-align: left; word-break: break-word;" valign="top"><p style="color: #202020; font-family: Helvetica; font-size: 14px; line-height: 21px; margin: 10px 0px; padding: 0px; text-align: justify;">Our Venice conference is devoted to the role of art and citizen media in shaping what we can call 'postcolonial publics' in Europe today.<br /><br />In this conference we interrogate the proliferation of digital media and global culture, and the changes happening in public intellectual engagements. From the adoration of the single (often male, often white) genius to the anonymity of diverse, affective publics, a postcolonial perspective invites contemporary public engagement to have many faces and multiple voices, and addressing new issues such as the environmental crisis and the resurgence of racism. Creativity and art can play a significant role in this development. Performance and visual expressions in the European space interpellate the situated public, but also produce transnational political dialogue and travel across digital space. Embodied performances challenge the cerebral stereotype and classical conception of what public engagement is and should be. Moreover, digital platforms have made available space for expressions that break the form and formulas of public and political speech. However, despite the expansion of public participation, social divisions based on race, gender, sexuality and able-bodiedness still hold sway and begs the question of positionality in relations to institutions, in the different fields of art and media, when it comes to political and social change.<br /><br />The various presentations envision postcolonial citizen media and art as practices and products encompassing a wide range of expressions: from poetry to journalism to Twitter-writing; from art to graffiti to Instagram-activism; and from celebrity activism to the uprising of “affective publics”.<br /> <br />This conference is jointly organized by Shaul Bassi and Sabrina Marchetti (Ca’ Foscari University of Venice), Bolette Blaagaard (Aalborg University) and Sandra Ponzanesi (Utrecht University) as the concluding event of the Postcolonial Intellectuals and Their European Publics Network (PIN) funded by the NWO. Info about the previous conferences can be found here:</p><p style="color: #202020; font-family: Helvetica; font-size: 14px; line-height: 21px; margin: 10px 0px; padding: 0px; text-align: justify;">Previous conferences of the PIN Network:</p><ul><li dir="ltr">Utrecht University (5-6 February 2019):<a data-saferedirecturl="https://www.google.com/url?q=http://connectingeuropeproject.eu/2019/02/08/conference-postcolonial-intellectuals-and-their-european-publics-utrecht-university/&source=gmail&ust=1619697765702000&usg=AFQjCNE2FQgwJDf83tcbnwbFVwl9xd5YMg" href="http://connectingeuropeproject.eu/2019/02/08/conference-postcolonial-intellectuals-and-their-european-publics-utrecht-university/" rel="noopener" target="_blank"> info</a></li><li dir="ltr">University of Muenster (5-6 September 2019) – In collaboration with the University of Lisbon: <a data-saferedirecturl="https://www.google.com/url?q=https://www.uni-muenster.de/Anglistik/en/ptts/Muenster/currentresearch/pin.html&source=gmail&ust=1619697765702000&usg=AFQjCNGz9H9wmBaOK6Txw--W5hyPydzA-Q" href="https://www.uni-muenster.de/Anglistik/en/ptts/Muenster/currentresearch/pin.html" rel="noopener" target="_blank">info</a></li><li dir="ltr">University of Leeds (21-22 and 28-29 January 2021): <a data-saferedirecturl="https://www.google.com/url?q=https://baumaninstitute.leeds.ac.uk/&source=gmail&ust=1619697765702000&usg=AFQjCNHatiiNlSOjpfO0_SZ13Mw06DxC9w" href="https://baumaninstitute.leeds.ac.uk/" rel="noopener" target="_blank">info</a></li></ul><p style="color: #202020; font-family: Helvetica; font-size: 14px; line-height: 21px; margin: 10px 0px; padding: 0px; text-align: left;"><b>The conference is free but to reserve your seat use</b><span class="Apple-converted-space"> </span><a contenteditable="false" href="https://postcolonialstudies.us11.list-manage.com/track/click?u=ab50c595db722886e10aad6ac&id=165c3c202c&e=6db7b5bfd3" style="color: crimson; font-weight: normal; text-decoration: underline;" target="_blank" title="https://postcolonialstudies.us11.list-manage.com/track/click?u=ab50c595db722886e10aad6ac&id=165c3c202c&e=6db7b5bfd3">this form</a>. <br /><br /><b>For more information and the full programme, see<span class="Apple-converted-space"> </span><a contenteditable="false" href="https://postcolonialstudies.us11.list-manage.com/track/click?u=ab50c595db722886e10aad6ac&id=2f0d8ceb1f&e=6db7b5bfd3" style="color: crimson; font-weight: normal; text-decoration: underline;" target="_blank" title="https://postcolonialstudies.us11.list-manage.com/track/click?u=ab50c595db722886e10aad6ac&id=2f0d8ceb1f&e=6db7b5bfd3">here</a>. </b></p></td></tr></tbody></table></td></tr></tbody></table><table border="0" cellpadding="0" cellspacing="0" class="mcnDividerBlock" style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: white; border-collapse: collapse; caret-color: rgb(0, 0, 0); color: black; font-family: Calibri; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; min-width: 100%; orphans: auto; table-layout: fixed; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; width: 100%px; word-spacing: 0px;"><tbody class="mcnDividerBlockOuter"><tr><td class="mcnDividerBlockInner" style="min-width: 100%; padding: 18px;"><table border="0" cellpadding="0" cellspacing="0" class="mcnDividerContent" style="border-collapse: collapse; border-top-color: rgb(234, 234, 234); border-top-style: solid; border-top-width: 2px; border-top: 2px solid rgb(234, 234, 234); min-width: 100%; width: 100%px;"><tbody><tr><td><span></span><br /></td></tr></tbody></table></td></tr></tbody></table><br /><p dir="ltr">The publication and conference is part of the <a data-saferedirecturl="https://www.google.com/url?q=http://www.postcolonialstudies.nl/p/mission-statement.html&source=gmail&ust=1619697765701000&usg=AFQjCNEpEhiOIwsdvqqvfpDiTL4V3SBjbw" href="http://www.postcolonialstudies.nl/p/mission-statement.html" rel="noopener" target="_blank">Postcolonial Intellectuals and Their European Publics Network</a>, (PIN), which is funded by the <a data-saferedirecturl="https://www.google.com/url?q=https://www.nwo.nl/en/projects/ig18014&source=gmail&ust=1619697765701000&usg=AFQjCNE-wC88fDrw0RR1UTL1jWjebGT3wQ" href="https://www.nwo.nl/en/projects/ig18014" rel="noopener" target="_blank">NWO</a>.
The network brings together international and interdisciplinary
scholars, activists, and artists to explore the changing face and voice
of the European intellectuals in a postcolonial Europe. This publication
and conference are jointly organized by <b>Shaul Bassi</b> and <b><span class="il">Sabrina</span> Marchetti</b> (<a data-saferedirecturl="https://www.google.com/url?q=https://hscif.org/venice/&source=gmail&ust=1619697765701000&usg=AFQjCNG-ssrmmCYScvGZGVNrsefqRsfehg" href="https://hscif.org/venice/" rel="noopener" target="_blank">Centre for the Humanities and Social Change</a>), <b>Bolette Blaagaard</b> (<a data-saferedirecturl="https://www.google.com/url?q=https://www.communication.aau.dk/&source=gmail&ust=1619697765701000&usg=AFQjCNH4pbjxwt0n4m3rbtulD5GigKGhmg" href="https://www.communication.aau.dk/" rel="noopener" target="_blank">Department of Communication and Psychology at Aalborg University, Copenhagen</a>) and <b>Sandra Ponzanesi</b> (<a data-saferedirecturl="https://www.google.com/url?q=https://www.uu.nl/en/organisation/department-of-media-and-culture-studies&source=gmail&ust=1619697765701000&usg=AFQjCNFf2GPnYprONY3aCAY-lo_zWVT_qg" href="https://www.uu.nl/en/organisation/department-of-media-and-culture-studies" rel="noopener" target="_blank">Department of Media and Culture Studies, Utrecht University</a>).</p>
<p dir="ltr">The conference will take place <b>in Venice</b> on the <b>26-27th of May 2022</b>. The publication based
on the conference papers will follow soon after. Authors selected for
the volume will be invited to the conference to present the final drafts
of their papers. The
volume will be published by <a data-saferedirecturl="https://www.google.com/url?q=https://edizionicafoscari.unive.it/en/edizioni4/&source=gmail&ust=1619697765702000&usg=AFQjCNE06ZjrWK8hwtSedh-ae2j98uHw0A" href="https://edizionicafoscari.unive.it/en/edizioni4/" rel="noopener" target="_blank">Ca’ Foscari University Press</a> as Open Access eBook in the Summer 2022.</p><br /></div><div class="grve-element grve-image grve-align-center"><img alt="" class="attachment-full size-full" height="130" src="https://hscif.org/wp-content/uploads/2021/04/all-logos-PIN-Conference-in-Venice-2022.png" style="opacity: 1;" width="802" /></div><div class="grve-element grve-image grve-align-center"><img alt="" class="attachment-blade-grve-small-rect-horizontal size-blade-grve-small-rect-horizontal" height="450" src="https://hscif.org/wp-content/uploads/2019/10/banner_800x450_psalm_05-09-2019-1-800x450.jpg" style="opacity: 1;" width="800" /></div></div></div> </div> </div><div class="grve-section grve-fullwidth-background grve-bg-none" style="padding-bottom: 25px; padding-top: 25px;"> <div class="grve-container"> <div class="grve-row grve-bookmark"><div class="wpb_column grve-column grve-column-1-2"><div class="grve-element grve-text"><p> Image credit: Lynn Avadenka, <i>Afterword</i> (Living Under Water, 2020)</p>
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Sandra Ponzanesihttp://www.blogger.com/profile/11134569559515878598noreply@blogger.comtag:blogger.com,1999:blog-4940648352996910215.post-62875137613577178252020-05-20T07:12:00.004-07:002020-11-23T07:50:59.850-08:00<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH9Ff-dPZqxwbNXH1-2R3t16ZpYnBc0R_9IAk2LCKYqB12DyRJe8E8YeC2TXXAN6Z7ok52rk2qOwzobHmaahziTnl1EXlhTfzRl9sXDs4LYbQCyre-BY3dTv64YIpbFkc9gLwnYUPzm1c/s2048/ERC+Migranntbelonging+newonlinesmallposter+%255Bsmall%255D.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1448" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH9Ff-dPZqxwbNXH1-2R3t16ZpYnBc0R_9IAk2LCKYqB12DyRJe8E8YeC2TXXAN6Z7ok52rk2qOwzobHmaahziTnl1EXlhTfzRl9sXDs4LYbQCyre-BY3dTv64YIpbFkc9gLwnYUPzm1c/w453-h640/ERC+Migranntbelonging+newonlinesmallposter+%255Bsmall%255D.png" width="453" /></a></div><br /><div class="separator" style="clear: both; text-align: center;">
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<br /> <span style="background-color: yellow;"><span style="font-size: large;"><b></b></span></span><br />
<span style="background-color: yellow;"><span style="font-size: large;"><b>Migrant Belongings: Digital Practices and the Everyday has
been postponed to Spring 2021. </b></span></span><br />
<br />
<span style="font-size: large;"><b><b></b>
</b></span><h3><span style="text-decoration: underline;"><b>The conference will now be fully online. Updates will be posted regularly on the conference page:<a href="http://connectingeuropeproject.eu/home/conference/"> http://connectingeuropeproject.eu/home/conference/</a></b></span></h3>
<p> </p>
<p><a href="http://connectingeuropeproject.eu/home/conference/erc-mb-we-are-going-virtual/" rel="attachment wp-att-1678"><img alt="" class="aligncenter size-large wp-image-1678" height="118" src="http://connectingeuropeproject.eu/wp-content/uploads/2020/11/ERC-MB-we-are-going-virtual-1024x300.png" width="400" /></a></p><p><span style="font-size: large;"><b>The new submission deadline for panels is
31 January 2021. Abstracts can be submitted until 15 February 2021. For
submission guidelines see below. </b></span><br />
<span style="font-size: large;">
</span><span style="font-size: large;"><b>Call for papers</b></span><br />
<span style="font-size: large;">
</span>
Migrant belonging through digital connectivity refers to a way of
being in the world that cuts across national borders, shaping new forms
of diasporic affiliations and transnational intimacy. This happens in
ways that are different from the ways enabled by the communication
technologies of the past. Scholarly attention has intensified around the
question of how various new technical affordances of platforms and apps
are shaping the transnationally connected, and locally situated, social
worlds in which migrants live their everyday lives.<br />
This international conference focuses on the connection between the
media and migration from different disciplinary vantage points.
Connecting with friends, peers and family, sharing memories and
personally identifying information, navigating spaces and reshaping the
local and the global in the process is but one side of the coin of
migrant-related technology use: this Janus-faced development also
subjects individuals as well as groups to increased datafied migration
management, algorithmic control and biometric classification as well as
forms of transnational authoritarianism and networked repression.<br />
This conference pays particular attention to the everyday use of
digital media for the support of transnational lives, emotional bonds
and cosmopolitan affiliations, focusing also on the role digital media
play in shaping local/urban and national diasporic formations. This is
because it becomes increasingly important to give everyday digital media
usage a central role in investigations of transnational belonging,
digital intimacy, diasporic community (re)production, migrant subject
formation, long-distance political participation, urban social
integration and local/national self-organization.<br />
Therefore we need to examine individual and collective user practices
within the wider historical and cultural contexts of media studies,
cultural studies and postcolonial cultural studies scholarship, attuned
to issues of politics and power, identity, geographies and the everyday.
This also creates new challenges for cross-disciplinary dialogues that
require an integration of ethnography with digital methods and critical
data studies in order to look at the formation of identity and
experience, representation, community building, and creating spaces of
belongingness.<br />
Contributions are welcome from any field of study that engages with
questions about how technology and social media usages mediate
contemporary migration experiences, not only within media and
communication studies, or digital and internet studies but also in
neighbouring disciplines such as anthropology, postcolonial studies,
gender studies, race studies, psychology, law, visual studies, conflict
studies, criminology, sociology, critical theory, political theory and
international relations.<br />
Contributions that explore non-media-centric entry points by focusing
on users’ digital practices and foregrounding ethnographic exploration
as a uniting framework are especially welcome.<br /> </p><p>The conference is part of the ERC project <a href="http://connectingeuropeproject.eu/">CONNECTINGEUROPE</a>, <i>Digital Crossings in Europe: Gender, Diaspora and Belonging. </i> </p><p>The conference is organized in collaboration with the <a data-cke-saved-href="https://ecrea.eu/Diaspora-Migration-and-the-Media" href="https://ecrea.eu/Diaspora-Migration-and-the-Media" rel="noopener noreferrer" target="_blank">DMM section (Diaspora, Migration and the Media)</a> of ECREA (European Communication Research and Education). <br /></p><p>Topics of interest include, but are not limited to:<br />
</p><ul>
<li>Affective digital practices and the politics of emotion</li>
<li>Digital diaspora</li>
<li>Cosmopolitanism</li>
<li>Cities and urban belonging</li>
<li>Translocality and transnationalism</li>
<li>Co-presence and togetherness</li>
<li>Cultural capital</li>
<li>Migrant visualization</li>
<li>Appification of migration</li>
<li>Platformization of migrant lives</li>
<li>Gender and critical race</li>
<li>The migration industry of connectivity</li>
<li>Digital ethnography</li>
<li>Transnational authoritarianism</li>
<li>Networked conflicts</li>
<li>Datafication and surveillance</li>
</ul>
<br />
<b>SUBMISSION GUIDELINES: </b><br />
Submissions for <b>panels</b> should be submitted via e-mail to <b><a href="mailto:migrantbelongings@uu.nl">migrantbelongings@uu.nl</a> </b>by <b>31 January 2021</b>.<br />
<ul>
<li>Submission for panels should include a chairperson, a rationale for
the panel (250 words), and the names of three speakers including their
abstract (250 words) and biographical note (150 words).</li>
</ul>
Abstracts should be submitted electronically, using the <b><u><a href="https://docs.google.com/forms/d/e/1FAIpQLSeR3DQF2QUikj6LYJo21FFw6tZBDvjyVKZ84KO9q7pFy_yPFQ/viewform">online submission system</a></u></b> by <b>15 February 2021</b>.<br />
<ul>
<li>Submissions for <b>papers</b> should include an abstract
(max 300 words) and short biographical note (150 words) about the author
including her/his current position and interest in the field of digital
media and migration.</li>
</ul>
For further questions please mail: <a href="mailto:migrantbelongings@uu.nl"><b><u>migrantbelongings@uu.nl</u></b></a><br />
<b>The PDF of this call for papers is available <a href="http://connectingeuropeproject.eu/wp-content/uploads/2020/11/CFP_MigrantBelongings-edit-for-online-web-22.pdf" rel="noopener noreferrer" target="">here</a>.</b>Sandra Ponzanesihttp://www.blogger.com/profile/11134569559515878598noreply@blogger.comtag:blogger.com,1999:blog-4940648352996910215.post-1184131972923287392020-04-20T02:43:00.001-07:002020-06-11T05:07:59.986-07:00<div class="jadu-cms">
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<h1 class="heading-underline">
Memorial Lecture Series </h1>
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<br />
<b>As one of the most prominent and influential intellectuals of our times, <a href="https://baumaninstitute.leeds.ac.uk/this-is-not-an-obituary/">Zygmunt Bauman</a> envisaged and practiced sociology as a <i>dialogical </i>activity.</b><br />
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<h1 style="color: crimson; display: block; font-family: 'Helvetica Neue', Helvetica, Arial, Verdana, sans-serif; font-size: 26px; font-style: normal; font-weight: bold; letter-spacing: normal; line-height: 125%; margin: 0; padding: 0; text-align: left;">
<span style="font-size: 22px;">Postcolonial Bauman | 10th Anniversary Lecture Series</span></h1>
<br />
<strong>University of Leeds</strong>
<div style="text-align: justify;">
<br />
<em>Given the current global uncertainty concerning the risks of travel
(as well as possible restrictions on movement, perhaps into September) –
the conference will transition into a series of online lectures to
celebrate the 10<sup>th</sup></em><em> </em><em>Anniversary in conjunction with the 3<sup>rd</sup></em><em> </em><em>PIN conference. Further details on this are forthcoming. For more information and updates, see the</em><em> </em><a href="https://baumaninstitute.leeds.ac.uk/news/deadline-extended-postcolonial-bauman-conference/" style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; color: crimson; font-weight: normal; mso-line-height-rule: exactly; text-decoration: underline;" target="_blank"><em>conference website</em></a><em>. </em><br />
<br />
<strong>Confirmed keynotes: </strong></div>
<ul>
<li style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; mso-line-height-rule: exactly; text-align: justify;">Etienne Balibar</li>
<li style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; mso-line-height-rule: exactly; text-align: justify;">Carlo Bordoni</li>
<li style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; mso-line-height-rule: exactly; text-align: justify;">David Lyon</li>
</ul>
<div style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; color: #202020; font-family: Helvetica; font-size: 14px; line-height: 150%; margin: 10px 0; mso-line-height-rule: exactly; padding: 0; text-align: justify;">
One
of the most prominent and influential intellectuals of our times,
Zygmunt Bauman envisaged and practiced sociology as a dialogical
activity. Though he is better remembered for being a postmodern than a
postcolonial figure, the conference seeks to turn the tables by asking
what Bauman might have to offer postcolonial studies, and by corollary
what postcolonial critics, who have only rarely engaged with Bauman,
might have to say about his work.<br />
<br />
Jointly held by the Bauman Institute - celebrating its 10th anniverary -
and the Postcolonial Intellectuals and their European Publics Network
(PIN), this transdisciplinary conference proceeds in this spirit by
inviting a dialogue between Bauman and postcolonial studies, each of
which reflects on the compositie figure of 'postcolonial Bauman': </div>
<ul>
<li style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; mso-line-height-rule: exactly;"><em>Postcolonialism and Postcommunism</em></li>
<li style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; mso-line-height-rule: exactly;"><em>Postcolonial Europe</em></li>
<li style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; mso-line-height-rule: exactly;"><em>The Intellectual as Outsider</em></li>
<li style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; mso-line-height-rule: exactly;"><em>The Intellectual as seen from the Outside </em></li>
</ul>
<br />
<b>Organising Committee</b><b>: </b><br />
Professor Griselda Pollock, Dr Mark Davis, Professor Max Silverman,
Professor Tony Bryant, Professor Graham Huggan, Dr Jack Palmer, Ms Sarah
McLaughlin.</div>
©Sandra Ponzanesihttp://www.blogger.com/profile/11134569559515878598noreply@blogger.comtag:blogger.com,1999:blog-4940648352996910215.post-90978928650890982332019-10-12T06:10:00.001-07:002020-06-19T08:59:47.653-07:00<br />
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<table border="0" cellpadding="0" cellspacing="0" class="mcnTextBlock" style="border-collapse: collapse; min-width: 100%; width: 100%px;"><tbody class="mcnTextBlockOuter">
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<tr><td class="mcnTextContent" style="color: #202020; font-family: Helvetica; font-size: 14px; line-height: 21px; padding: 0px 18px 9px; text-align: left; word-break: break-word;" valign="top"><b><span style="color: #990033; font-family: "arial" , "helvetica neue" , "helvetica" , sans-serif;"><span style="font-size: 26px;">9th PCI Film Series </span></span></b></td></tr>
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<tr><td class="mcnTextContent" style="color: #202020; font-family: Helvetica; font-size: 14px; line-height: 21px; padding: 0px 18px 9px; text-align: left; word-break: break-word;" valign="top"><div style="color: #202020; font-family: Helvetica; font-size: 14px; line-height: 21px; margin: 10px 0px; padding: 0px; text-align: left;">
The Postcolonial Studies Initiative is happy to announce its 9th film series with a selection of films, shown monthly, that draw on a variety of different contexts in our postcolonial world. The series is organized annually and invites all interested in our European postcolonial present and the representation of its political, cultural and aesthetic realities and challenges. Each film will be introduced briefly by scholars connected to the PCI and international guests and filmmakers.<br />
<br />
This series will include presentations with filmmakers and Q&As. We are very happy that this series will be opened by Pravini Baboeram who will present “The Uprising”, a music documentary that tells the story of resistance against racism in Europe.<br />
<br />
Please join us for our first screening: </div>
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<tr><td class="mcnTextContent" style="color: #202020; font-family: Helvetica; font-size: 14px; line-height: 21px; padding: 0px 18px 9px; text-align: left; word-break: break-word;" valign="top"><h2 style="color: crimson; display: block; font-family: "Helvetica Neue", Helvetica, Arial, Verdana, sans-serif; font-size: 18px; font-style: normal; font-weight: bold; letter-spacing: normal; line-height: 22.5px; margin: 0px; padding: 0px; text-align: left;">
The Uprising with Q&A with director (dir. Pravini Baboeram, 2019) </h2>
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<div style="color: #202020; font-family: Helvetica; font-size: 14px; line-height: 21px; margin: 10px 0px; padding: 0px; text-align: left;">
<img align="right" data-file-id="3681165" height="210" src="https://gallery.mailchimp.com/ab50c595db722886e10aad6ac/images/1a2e98c2-d662-4ee2-ab32-ef1880ad295b.png" style="border: 0px; height: 210px; margin: 0px 0px 10px 10px; outline: none; text-decoration: none; width: 300px;" width="300" /></div>
<div style="color: #202020; font-family: Helvetica; font-size: 14px; line-height: 21px; margin: 10px 0px; padding: 0px; text-align: left;">
<b>About the film: </b><br />
Musician and activist Pravini Baboeram presents “The Uprising”, a music documentary that tells the story of resistance against racism in Europe. With commentary and experiences from academics and activists, the Dutch-Indian singer/songwriter offers a decolonial perspective on the anti-racism movement in the Netherlands, UK and France. She not only provides an analysis of the history and legacy of colonialism, but also a vision on strategy for the future of the movement.</div>
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This documentary zooms in on collective challenges of communities of color. In 9 self-written songs Pravini connects the fight against Blackface, the struggle for the recognition of colonial crimes that the Netherlands has committed in Indonesia, the fight for the liberation of Palestine and the struggle in the political field for an inclusive society. “The Uprising” offers a unique view of the resistance against racism in Europe through the eyes of people of color. Pravini's documentary has been selected for the international film festival DocuDonna in Massa Marittima, Italy. This festival focuses predominately on female directors who focus on societal issues in their work. For more information<span class="Apple-converted-space"> </span><a href="https://iisr.nl/news/the-uprising-geselecteerd-voor-internationaal-filmfestival/" style="color: crimson; font-weight: normal; text-decoration: underline;" target="_blank">click here</a>. To see the trailer<span class="Apple-converted-space"> </span><a href="https://vimeo.com/329425921" style="color: crimson; font-weight: normal; text-decoration: underline;" target="_blank">click here.</a><br />
<span style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: white; caret-color: rgb(32, 32, 32); color: #202020; display: inline !important; float: none; font-family: Helvetica; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: justify; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">The documentary is available with<span class="Apple-converted-space"> </span></span><a href="https://postcolonialstudies.us11.list-manage.com/track/click?u=ab50c595db722886e10aad6ac&id=f805ef027f&e=6db7b5bfd3" style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; color: crimson; font-family: Helvetica; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: justify; text-decoration: underline; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;" target="_blank">English</a><span style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: white; caret-color: rgb(32, 32, 32); color: #202020; display: inline !important; float: none; font-family: Helvetica; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: justify; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">,<span class="Apple-converted-space"> </span></span><a href="https://postcolonialstudies.us11.list-manage.com/track/click?u=ab50c595db722886e10aad6ac&id=143b244332&e=6db7b5bfd3" style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; color: crimson; font-family: Helvetica; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: justify; text-decoration: underline; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;" target="_blank">Spanish</a><span style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: white; caret-color: rgb(32, 32, 32); color: #202020; display: inline !important; float: none; font-family: Helvetica; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: justify; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">,<span class="Apple-converted-space"> </span></span><a href="https://postcolonialstudies.us11.list-manage.com/track/click?u=ab50c595db722886e10aad6ac&id=2218cc8e77&e=6db7b5bfd3" style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; color: crimson; font-family: Helvetica; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: justify; text-decoration: underline; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;" target="_blank">French</a><span style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: white; caret-color: rgb(32, 32, 32); color: #202020; display: inline !important; float: none; font-family: Helvetica; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: justify; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"><span class="Apple-converted-space"> </span>and<span class="Apple-converted-space"> </span></span><a href="https://postcolonialstudies.us11.list-manage.com/track/click?u=ab50c595db722886e10aad6ac&id=27f2d10865&e=6db7b5bfd3" style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; color: crimson; font-family: Helvetica; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: justify; text-decoration: underline; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;" target="_blank">Dutch</a><span style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: white; caret-color: rgb(32, 32, 32); color: #202020; display: inline !important; float: none; font-family: Helvetica; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: justify; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"><span class="Apple-converted-space"> </span>subtitles. </span> </div>
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<b>Practical information</b><br />
Date: 14 October, 2019<br />
Time: 17:15-19:00<br />
<b>Location:<span class="Apple-converted-space"> </span></b>Entrance at Muntstraat 2A, MCW-LAB (Grote zaal KNG20)<br />
Web: <a href="https://www.pravinimusic.com/" style="color: crimson; font-weight: normal; text-decoration: underline;" target="_blank">https://www.pravinimusic.com/</a></div>
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Admission is free of charge.<span class="Apple-converted-space"> </span><b>However, due to safety regulations, maximum capacity of the room is 80 people. </b>Because the screening is part of the postcolonial studies minor, seating for non-UU students is limited. </div>
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Cold War (dir. Pawlikowski, France, Poland, UK, 2018,1.28 min) </h2>
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<i>Introduced by Sandra Ponzanesi (Utrecht University, Media and Culture Studies) </i><br />
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<b id="docs-internal-guid-7bf1d510-7fff-02a0-6461-419c8d22b6b0">Love Without </b><b id="docs-internal-guid-7bf1d510-7fff-02a0-6461-419c8d22b6b0"></b><b id="docs-internal-guid-7bf1d510-7fff-02a0-6461-419c8d22b6b0">Borders</b></h1>
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<i><b id="docs-internal-guid-7bf1d510-7fff-02a0-6461-419c8d22b6b0"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3CZpWy9on0TJltPkbxNKarZI7bFwDUfUCNhak5Xlq4-lp-ReiclGI9jFfoY00i9OSz4EttToWOf_o2km6B-Mhp6N8ZXkfP7eJ6GpqIcHBs3dq9SIUZHbihBnJXdtEelVn1Vn76iC9y7g/s1600/coldwar_still06.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3CZpWy9on0TJltPkbxNKarZI7bFwDUfUCNhak5Xlq4-lp-ReiclGI9jFfoY00i9OSz4EttToWOf_o2km6B-Mhp6N8ZXkfP7eJ6GpqIcHBs3dq9SIUZHbihBnJXdtEelVn1Vn76iC9y7g/s400/coldwar_still06.jpg" width="400" /></a></b></i></div>
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<i><b id="docs-internal-guid-7bf1d510-7fff-02a0-6461-419c8d22b6b0"></b><b id="docs-internal-guid-7bf1d510-7fff-02a0-6461-419c8d22b6b0">Set against the background of the Cold War in the 1950s in Poland, Berlin, Yugoslavia and Paris, the film depicts an impossible love story in impossible times. Over and over, the hero and heroine of the film are separated by borders and ideologies, but they remain fatefully drawn to each other. </b></i><br />
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On November 9, 2019, the pictures of the fall of the Berlin Wall are celebrating their 30th anniversary. On November 25, the PCI is screening Cold War by acclaimed filmmaker Pawel Pawlikowski to mark the event. The film is an ode to love at the time of the Iron Curtain, and the tragic divisions caused before the Peaceful Revolution of 1989. Paweł Pawlikowski follows his Oscar-winning Ida with the stunning Cold War, an epic romance set against the backdrop of Europe after World War II. Shot in luminous black and white, it’s a wistful and dreamlike journey through a divided continent – and a heartbreaking portrait of ill-fated love.<br />
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Paweł Pawlikowski won the best director award at Cannes in May 2018, the European Film Prize in five categories (best film, best director, best actress, best scenario, best editing) and the New York Film Critics Circle Award for Best Foreign Language Film. The film was nominated for three Academy Awards and for two BAFTA Awards.</div>
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Polish-born Pawel Pawlikowski started as a documentary filmmaker in British television. His second feature, Last Resort (2000), about an east European woman and her young son, washed up here in an unbelievably grim seaside holding area for asylum seekers, earned him international critical acclaim at numerous festivals, including Toronto and Sundance, and won the 2001 British Academy of Film and Television Arts (BAFTA) award.<br />
Official website:<span class="Apple-converted-space"> </span><a href="https://www.curzonartificialeye.com/cold-war/" style="color: crimson; font-weight: normal; text-decoration: underline;" title="https://www.curzonartificialeye.com/cold-war/">https://www.curzonartificialeye.com/cold-war/</a><br />
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<b id="docs-internal-guid-7bf1d510-7fff-02a0-6461-419c8d22b6b0">Official website:<span class="Apple-converted-space"> </span><a href="https://www.curzonartificialeye.com/cold-war/" style="color: crimson; font-weight: normal; text-decoration: underline;" title="https://www.curzonartificialeye.com/cold-war/">https://www.curzonartificialeye.com/cold-war/</a></b></div>
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<b id="docs-internal-guid-2554af93-7fff-ed5b-87fe-b8468e542129">Practical information:</b><br />
Date: 25 November, 2019<br />
Time: 17:00-19:00<br />
Location:<b> Entrance at Muntstraat 2A, MCW-LAB (Grote zaal KNG20)<br />More info: <span class="Apple-converted-space"> </span></b>www.postcolonialstudies.nl</div>
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Admission is free of charge.<span class="Apple-converted-space"> </span><b>However, due to safety regulations, maximum capacity of the room is 80 people. </b>Because the screening is part of the postcolonial studies minor, seating for non-UU students is limited. </div>
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<span style="font-size: 22px;">Paris is Burning (dir. Jenny Livingston 1990) </span></h2>
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<i style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(32, 32, 32); color: #202020; font-family: Helvetica; font-size: 14px; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">Introduced by Zerrin Cengiz</i><span style="background-color: white; color: #202020; display: inline; float: none; font-family: "helvetica"; font-size: 14px; font-style: normal; font-weight: normal; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="Apple-converted-space"> </span>(Utrecht University) and Milica Trakilović (Utrecht University)</span><br />
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<b>The legendary documentary <i>Paris is Burning</i> (Jenny Livingston, 1990) about the New York Underground drag queen and transgender culture.</b><br />
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A new restoration of <i>Paris Is Burning</i> has been released. The timing couldn’t be more apt: this year marks the 50th anniversary of the Stonewall uprising, which arrives at a fraught time in queer visibility. It’s no wonder that in addition to being cherished and debated over the years, <i>Paris Is Burning</i> has often been taught in colleges and beyond, an urtext for debates about the meanings of gender, race, class, and sexuality.<br />
Over the past decade, Jennie Livingston’s landmark 1990 documentary “Paris Is Burning” has had a renaissance of sorts, thanks in no small part to the popularity of “RuPaul’s Drag Race.” If you’ve never seen “Paris Is Burning,” you’re only getting half of what “Drag Race” has to offer, so a new restoration and theatrical re-release of the film courtesy of Janus Films is the perfect opportunity to catch up.</div>
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<b>Practical information</b><br />
Date: 13 January, 2019<br />
Time: 17:00-19:00<br />
<b>Location:<span class="Apple-converted-space"> </span></b>Entrance at Muntstraat 2A, MCW-LAB (Grote zaal KNG20)</div>
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Admission is free of charge.<span class="Apple-converted-space"> </span><b>However, due to safety regulations, maximum capacity of the room is 80 people. </b>Because the screening is part of the postcolonial studies minor, seating for non-UU students is limited.<br />
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<span style="font-size: 22px;">Palimpsest of the Africa Museum (2019) & Lobi Kuna (2018) </span><br /><br /><span style="font-size: 14px;">Introduction and Q&A with filmmaker Matthias De Groof</span></h2>
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<b>During this special PCI screening event filmmaker Matthias De Groof will show fragments of his films 'Palimpsest of the Africa Museum’, a documentary on the renovation of the Tervuren museum in Belgium, and its crippled decolonization. He will also show Lobi Kuna, a participative fiction on cultural heritage. The film performs a cinematic restitution.</b><br />
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In 2013, the Royal Museum for Central Africa closes for renovation. Not only the building and the museum cabinets are in need of renewal: the spirit of the museum has to be brought into this century. The <u>documentary</u> which resulted from the renovations, entitled <i>Palimsest of the Africamuseum, </i>will be shown and introduced by the filmmaker, who will also show fragments of a <i>Lobi Kuna, </i>a <u>fiction</u> film he made with Congolese friends on restitution. Both films are part of a cinematic triptych showing crippling decolonisations. While showing these processes, the triptych itself attempts to undo the historic entanglements between the medium of cinema and coloniality.<br />
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<b>Bio</b><br />
Matthias De Groof is a postdoctoral researcher affiliated with the University of Antwerp. He has held visiting fellow appointments at the New York University, the Helsinki Collegium for Advanced Studies in Finland, and the Africa Multiple Cluster of Excellence of the Bayreuth University in Germany.<br />
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<b>Palimpsest of the Africa Museum (dir. Matthias De Groof in collaboration with Mona Mpembele, 2019, 1,09 min.)</b><br />
In 2013, the Royal Museum for Central Africa, located just outside Brussels, closes for renovation. Not only the building and the museum cabinets are in need of renewal: the spirit of the museum has to be brought into this century. In COMRAF, a board of advisers, the process of decolonization leads to fierce discussions. In order to completely dislodge the majestic building from its colonial form, fundamental questions also need to be asked. Who is looking at whom here? And whose story is being told here? For the trailer, see <a data-auth="NotApplicable" href="https://postcolonialstudies.us11.list-manage.com/track/click?u=ab50c595db722886e10aad6ac&id=4bb875b3e4&e=6db7b5bfd3" rel="noopener noreferrer" style="color: crimson; font-weight: normal; text-decoration: underline;" target="_blank">here</a>.<br />
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<b>Lobi Kuna (avant-hier / après-demain), (dir. Matthias De Groof, 2018, 45 min.)<img align="right" data-file-id="4990057" height="174" src="https://gallery.mailchimp.com/ab50c595db722886e10aad6ac/images/0d5386ec-93f1-4afb-a758-a8916385ec95.png" style="border: 0px; height: 174px; margin: 5px 0px 5px 10px; outline: none; text-decoration: none; width: 300px;" width="300" /></b><br />
“<i>Lobi Kuna” </i>is the fruit of a strong friendship between a Belgian and a Congolese. The film is based on a visit Mekhar (Congolese artist) and dr. Matthias De Groof paid to the museum of Central-Africa in Belgium. “Lobi Kuna” became the fruit of common concerns and reflections on interrelated issues such as the diasporic journey, stolen heritage, racism, museums and the postcolonial condition. It tells the story of Mekhar’s gaze being unsettled as he views through his lens the macabre museum as a mausoleum of his cultural heritage. <i>Lobi Kuna </i>tells the story of his appropriation of the past in order to project himself into a future. Being co-written by a Congolese, partially shot in Congo by a Congolese crew, co-produced by Congolese, the film is participatory / collaborative.<br />
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<b>Practical information</b><br />
Date:<span class="Apple-converted-space"> </span><b>9 March, 2020</b><br />
Time: 17:00-20:00<br />
Location:<b><span class="Apple-converted-space"> </span></b>Entrance at Muntstraat 2A, MCW-LAB (Grote zaal KNG20)<br />
More information: <a href="https://postcolonialstudies.us11.list-manage.com/track/click?u=ab50c595db722886e10aad6ac&id=aec92940b1&e=6db7b5bfd3" style="color: crimson; font-weight: normal; text-decoration: underline;">http://www.postcolonialstudies.nl/</a></div>
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Admission is free of charge.<span class="Apple-converted-space"> </span><b>However, due to safety regulations, maximum capacity of the room is 80 people. </b>Because the screening is part of the postcolonial studies minor, seating for non-UU students is limited. </div>
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Sandra Ponzanesihttp://www.blogger.com/profile/11134569559515878598noreply@blogger.comtag:blogger.com,1999:blog-4940648352996910215.post-18143309799725205232019-09-10T00:55:00.002-07:002019-09-10T00:55:55.304-07:00<h3 style="-moz-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Calibri, sans-serif; font-size: 13.5pt; font-style: normal; font-variant-caps: normal; letter-spacing: normal; margin-bottom: 0.0001pt; margin-left: 0cm; margin-right: 0cm; text-align: center; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="color: #1f3763; font-family: "Times New Roman", serif; font-size: 12pt; font-weight: normal;">Publication</span><span class="apple-converted-space"><span style="color: #1f3763; font-family: "Times New Roman", serif; font-size: 12pt; font-weight: normal;"> </span></span><span style="color: #1f3763; font-family: "Times New Roman", serif; font-size: 12pt; font-weight: normal;">Special Issue:</span><span class="apple-converted-space"><span style="color: #1f3763; font-family: "Times New Roman", serif; font-size: 12pt; font-weight: normal;"> </span></span></h3>
<h3 style="-moz-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Calibri, sans-serif; font-size: 13.5pt; font-style: normal; font-variant-caps: normal; letter-spacing: normal; margin-bottom: 0.0001pt; margin-left: 0cm; margin-right: 0cm; text-align: center; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="font-size: large;"><span class="apple-converted-space"><span style="color: #1f3763; font-family: "Times New Roman", serif; font-weight: normal;"> </span></span><span style="color: #1f3763; font-family: "Times New Roman", serif;"><a href="https://journals.sagepub.com/toc/tvna/20/6" style="color: #954f72; text-decoration: underline;"><span style="color: #954f72;">Migration and Mobility in a Digital Age: </span></a></span></span></h3>
<h3 style="-moz-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Calibri, sans-serif; font-size: 13.5pt; font-style: normal; font-variant-caps: normal; letter-spacing: normal; margin-bottom: 0.0001pt; margin-left: 0cm; margin-right: 0cm; text-align: center; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="font-size: large;"><span style="color: #1f3763; font-family: "Times New Roman", serif;"><span style="color: #954f72;">(Re)Mapping Connectivity and Belonging</span></span></span><span style="color: black;"></span></h3>
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<span style="color: black; font-family: "Times New Roman", serif;">Guest editor: Sandra Ponzanesi</span><span style="color: black;"></span></div>
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<i><span style="color: black; font-family: "Times New Roman", serif;">Television and New Media</span></i><span style="color: black; font-family: "Times New Roman", serif;">, 20(6):<span class="apple-converted-space"> </span>547-648</span><span style="color: black;"></span></div>
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<span style="color: black; font-family: "Times New Roman", serif;"><span class="apple-converted-space"> </span><a href="https://journals.sagepub.com/toc/tvna/20/6" style="color: #954f72; text-decoration: underline;" title="https://journals.sagepub.com/toc/tvna/20/6"><span style="color: purple;">https://journals.sagepub.com/toc/tvna/20/6</span></a></span><span style="color: black;"></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLl9OGuSbA1U2irhUAMddNr0d2FVgr4ae82mrCuLFZB0MuC14ElKmc5gOT-2Aw12E_nZ56vmF-1serk0GqKD6SlUFbwL4ewES81T2cLgUwaasVoWOBlPwAzGkLnNv7_YImS2IvQKlXVLk/s1600/tvna_20_6.cover.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLl9OGuSbA1U2irhUAMddNr0d2FVgr4ae82mrCuLFZB0MuC14ElKmc5gOT-2Aw12E_nZ56vmF-1serk0GqKD6SlUFbwL4ewES81T2cLgUwaasVoWOBlPwAzGkLnNv7_YImS2IvQKlXVLk/s320/tvna_20_6.cover.png" width="213" /></a></div>
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<span style="font-family: inherit;"><span style="color: black;">This special issue charts new directions in digital media and migration studies from a gendered, postcolonial, and multidisciplinary perspective. In particular, the focus is on the ways in which the experience of displacement is resignified and transformed by new digital affordances from different vantage points, engaging with recent developments in datafication, visualization, biometric technologies, platformization, securitization, and extended reality (XR) as part of a drastically changed global mediascape. This issue explores the role of new media technologies in rethinking the dynamics of migration and globalization by focusing in particular on the role of migrant users as “connected” and active participants, as well as “screened” and subject to biometric datafication, visualization, and surveillance.<span class="apple-converted-space"> </span></span></span></div>
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<span style="font-family: inherit;"><span style="color: black;">With contributions from:</span></span></div>
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<span style="font-family: inherit;"><span style="color: black;"> </span></span>
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<span style="font-family: inherit;"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-GB;">Sandra
Ponzanesi (Utrecht University):</span><b><span style="font-size: 13.5pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-GB;"></span></b></span></div>
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<span style="font-family: inherit;"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-GB;"><a href="https://journals.sagepub.com/doi/full/10.1177/1527476419857687"><span style="color: purple;">Migration and Mobility in a Digital Age: (Re)Mapping
Connectivity and Belonging</span></a></span><b><span style="font-size: 13.5pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-GB;"></span></b></span></div>
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<span style="font-family: inherit;"><span style="color: black; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Arjun Appadurai (New York
University): </span><span style="color: purple; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> </span><span style="color: black; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"></span></span></div>
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<span style="font-family: inherit;"><span style="color: black; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><a href="https://journals.sagepub.com/doi/full/10.1177/1527476419857678" title="https://journals.sagepub.com/doi/full/10.1177/1527476419857678"><span style="color: purple;">Traumatic Exit, Identity Narratives, and the Ethics of
Hospitality</span></a></span></span></div>
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<span style="font-family: inherit;"><span style="color: black; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Roopika Risam (Salem State
University): </span><span style="color: purple; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> </span><span style="color: black; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"></span></span></div>
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<span style="font-family: inherit;"><span style="color: black; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><a href="https://journals.sagepub.com/doi/full/10.1177/1527476419857679" title="https://journals.sagepub.com/doi/full/10.1177/1527476419857679"><span style="color: purple; text-decoration: none; text-underline: none;">Beyond the
Migrant “Problem”: Visualizing Global Migration</span></a></span></span></div>
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<span style="font-family: inherit;"><span style="color: black; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Mirca Madianou (Goldsmiths,
University of London): </span><span style="color: purple; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> </span><span style="color: black; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"></span></span></div>
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<span style="font-family: inherit;"><span style="color: black; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><a href="https://journals.sagepub.com/doi/full/10.1177/1527476419857682" title="https://journals.sagepub.com/doi/full/10.1177/1527476419857682"><span style="color: purple; text-decoration: none; text-underline: none;">The Biometric
Assemblage: Surveillance, Experimentation, Profit, and the Measuring of Refugee
Bodies</span></a></span></span></div>
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<span style="font-family: inherit;"><span style="color: black; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Myria Georgiou (LSE): </span><i><span style="color: purple; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> </span></i><span style="color: black; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"></span></span></div>
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<span style="font-family: inherit;"><span style="color: black; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><a href="https://journals.sagepub.com/doi/full/10.1177/1527476419857683" title="https://journals.sagepub.com/doi/full/10.1177/1527476419857683"><i><span style="color: purple; text-decoration: none; text-underline: none;">City of Refuge</span></i><span style="color: windowtext; text-decoration: none; text-underline: none;"> </span><span style="color: purple; text-decoration: none; text-underline: none;">or Digital Order?
Refugee Recognition and the Digital Governmentality of Migration in the City</span></a></span></span></div>
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<span style="font-family: inherit;"><span style="color: black; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Radha S. Hegde (NYU): </span></span></div>
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<span style="font-family: inherit;"><span style="color: black; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><a href="https://journals.sagepub.com/doi/full/10.1177/1527476419857686" title="https://journals.sagepub.com/doi/full/10.1177/1527476419857686"><span style="color: purple; text-decoration: none; text-underline: none;">Itinerant Data:
Unveiling Gendered Scrutiny at the Border</span></a></span></span></div>
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<span style="font-family: inherit;"><span style="color: black; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Joost Raessens (Utrecht
University): </span><span style="color: purple; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> </span><span style="color: black; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"></span></span></div>
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Present, Physically Invisible: Alejandro G. Iñárritu’s Mixed Reality
Installation</span><span style="color: windowtext; text-decoration: none; text-underline: none;"> </span><i><span style="color: purple; text-decoration: none; text-underline: none;">Carne y Arena</span></i></a></span></span></div>
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<span style="font-family: inherit;"><span style="color: black;"><a href="https://journals.sagepub.com/toc/tvna/20/6" title="https://journals.sagepub.com/toc/tvna/20/6"><span style="color: purple;"></span></a></span><span style="color: black;"></span>
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Sandra Ponzanesihttp://www.blogger.com/profile/11134569559515878598noreply@blogger.comtag:blogger.com,1999:blog-4940648352996910215.post-1282258208199496172019-07-01T08:24:00.000-07:002019-07-01T08:34:22.931-07:00<table border="0" cellpadding="0" cellspacing="0" class="mcnTextBlock" style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: white; border-collapse: collapse; caret-color: rgb(0, 0, 0); color: black; font-family: -webkit-standard; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; min-width: 100%; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; width: 100%px; word-spacing: 0px;"><tbody class="mcnTextBlockOuter">
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<span style="font-size: 22px;">Conference: "Intellectuals Across Borders: Writers, Artists, Activists" </span><br /><br /><span style="font-size: 16px;">University of Münster, 5-6 September 2019 </span></h2>
Co-hosted by the University of Lisbon<br />
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<b><span style="color: #202020; font-family: "Arial",sans-serif;"><a href="https://research.ims.su.se/en/profiles/11-john-sundholm">John
Sundholm</a> (Professor in Cinema Studies, St</span></b><b><span style="color: black; font-family: "Arial",sans-serif;">o</span></b><b><span style="color: #202020; font-family: "Arial",sans-serif;">ckholm University)</span></b><span style="color: #202020; font-family: "Arial",sans-serif;"></span></div>
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<b><a href="https://www.johnypitts.com/info" target="_blank">Johny Pitts</a> (Photographer and
Television presenter, author of <i>Afropean</i> [Allen Lane / Penguin, 2019])</b></span></div>
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</span><b><span style="color: black; font-family: "Arial",sans-serif;"><a href="http://medusafilms.be/matthiasdegroof/" target="_blank">Matthias de Groof</a> (Filmmaker, University of
Antwerpen)</span></b><span style="color: #202020; font-family: "Arial",sans-serif;"></span></div>
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The second PIN Network Conference <b>"Intellectuals Across Borders: Writers, Artists, Activists"</b> will take place in Münster/Germany, co-hosted by the University of Münster and the University of Lisbon. The opening event is scheduled for the evening of Sept. 4, 2019. The conference closes on Sept. 6, 2019.</div>
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<b>Intellectuals Across Borders</b> explores the dynamic formations of postcolonial intellectual work in the manifold European public spheres. The conference works with the idea that writers, artists, and activists – like migrant academics and political representatives – can embrace the role of postcolonial intellectuals through intervention and public impact. As racism works vigorously across national borders while right-wing groupings across Europe are interconnected and cross-fertilize each other, critical intellectual work is called upon to make borders porous. In fact, it is the postcolonial intellectuals’ transgressive potential in inquiring and intervening – spatially, epistemologically, ideologically – which we consider vital to their relationship with European public spheres. In both theme and approach, the conference takes the following questions as a theoretical vantage point:</div>
<ul>
<li>While the postcolonial is constitutive of Europe itself, what marks out forms of public intellectual work as <i>postcolonial</i>?</li>
<li>Are these distinct forms of <i>postcolonial </i>intellectual labour characterised through biography or location, by their mode of engagement and intervention, and/or by their subject matter?</li>
<li>How can we stretch and pluralise the concept of the ‘postcolonial public intellectual’ to encompass minoritized positionalities, inflected by race, class, gender, or sexuality?</li>
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For further reading, practical details and submission instructions, download the Call for Papers on the official website <a href="https://www.uni-muenster.de/Anglistik/en/ptts/iab2019/" style="color: crimson; font-weight: normal; text-decoration: underline;" target="_blank" title="https://www.uni-muenster.de/Anglistik/en/ptts/iab2019/">here</a>.</div>
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<b>Practical information</b></div>
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<li><b>Date</b>: 4-6 September, 2019</li>
<li><b>Location</b>: Münster</li>
<li><b>Web</b>: <a href="https://www.uni-muenster.de/Anglistik/en/ptts/iab2019/" style="color: crimson; font-weight: normal; text-decoration: underline;" target="_blank">https://www.uni-muenster.de/Anglistik/en/ptts/iab2019/</a></li>
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Organized in the context of the NWO Internationalization in the humanities project:<span class="Apple-converted-space"> </span><b>PIN – Postcolonial Intellectuals and their European Publics Network</b>, “Intellectuals Across Borders” explores the dynamic formations of intellectual work in diverse European public spheres.<br />
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<b>Conveners</b>: Sandra Ponzanesi (Utrecht University), Mark U Stein (University of Münster), Ana Cristina Mendes (University of Lisbon)</td></tr>
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Sandra Ponzanesihttp://www.blogger.com/profile/11134569559515878598noreply@blogger.comtag:blogger.com,1999:blog-4940648352996910215.post-22502723442714976022019-06-20T06:01:00.004-07:002019-06-20T06:01:45.660-07:00Xenogenesis - the Otolith Group @ Van Abbemuseum, May-August<div dir="ltr" style="text-align: left;" trbidi="on">
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<span data-offset-key="bcd04-0-0"><span data-text="true">THE OTOLITH GROUP</span></span></div>
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<span data-offset-key="9f53q-0-0"><span data-text="true">Curator(s): Annie Fletcher</span></span></div>
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<span data-offset-key="3dj86-0-0"><span data-text="true">From May 2019 the Van Abbemuseum will hold Xenogenesis, the first large scale exhibition of The Otolith Group in the Netherlands. The collective was founded by artist Anjalika Sagar and theorist Kodwo Eshun in 2002. Xenogenesis will present artworks produced between 2011 and 2018. The works will be displayed in the ten rooms within the old building of the museum.</span></span></div>
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<span data-offset-key="432dj-0-0"><span data-text="true">Together with guest programmer Richard Kofi, the Van Abbemuseum organises two events around the Xenogenesis exhibition. From 3pm onwards, various guests will be joining him in the museum for conversations, lectures and performances. Richard Kofi gives voice, colour, face and sound to Xenogenesis topics such as independence, decolonisation, futurism and the holistic approach to medicine. </span></span></div>
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<span data-offset-key="233tg-0-0"><span data-text="true">CREOLIZING THE CANON </span></span></div>
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<span data-offset-key="d2t0p-0-0"><span data-text="true">More and more museums are inviting academics and activists to explore the consequences of worldwide geopolitical issues at a local level. They're looking for fresh narratives and different voices that inspire people to look at the world from another perspective and, preferably, to change. It is an intensive process, and the question remains as to whether it will ever really be completed. Does decolonisation involve more than restoring the Eurocentric past and present of an institution? Can you actually celebrate successes in achieving decolonisation? Who are we doing it for anyway? Wouldn’t it be better if we simply founded new institutions; ones that examine new ways of thinking and the consequences of progress? </span></span></div>
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<span data-offset-key="ddidr-0-0"><span data-text="true">- Tickets: https://vanabbemuseum.nl/en/programme/programme/creolizing-the-canon/</span></span></div>
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<span data-offset-key="fhaca-0-0"><span data-text="true">Afrofuturism is a blend of imagination and technology used in the fight for freedom and equality of black communities across the globe. It is a positive method for rethinking problematic socioeconomic and neo-colonial structures and coming up with an alternative future. In which art forms can we see Afrofuturism being expressed? And how does Afrofuturism manifest itself in science or philosophy on utopian and occasionally dystopian worldviews? </span></span></div>
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koenleurshttp://www.blogger.com/profile/07322315574272690374noreply@blogger.comtag:blogger.com,1999:blog-4940648352996910215.post-88127576508634322562019-05-30T01:11:00.003-07:002019-05-30T01:11:33.529-07:00<table border="0" cellpadding="0" cellspacing="0" class="MsoNormalTable" style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: white; border-collapse: collapse; caret-color: rgb(0, 0, 0); font-family: -webkit-standard; letter-spacing: normal; min-width: 100%; orphans: auto; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; width: 100%px; word-spacing: 0px;"><tbody>
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<strong><span style="font-family: Helvetica, sans-serif;">PCI/Doing Gender Lecture - Itinerant Data: Unveiling Gendered Scrutiny at the Border</span></strong><br /><br /><em><span style="font-family: Helvetica, sans-serif; font-size: 11.5pt; line-height: 19.16666603088379px;">Radha S. Hegde </span></em><strong><i><span style="font-family: Helvetica, sans-serif; font-size: 11.5pt; line-height: 19.16666603088379px;">(</span></i></strong><em><span style="font-family: Helvetica, sans-serif; font-size: 11.5pt; line-height: 19.16666603088379px;">Professor of Media, Culture and Communication, New York University, USA</span></em><strong><i><span style="font-family: Helvetica, sans-serif; font-size: 11.5pt; line-height: 19.16666603088379px;">)</span></i></strong><br /><br /><span style="font-size: 12pt; line-height: 20px;">Utrecht University, 24 June 2019 </span></h2>
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<img align="right" height="267" src="https://gallery.mailchimp.com/ab50c595db722886e10aad6ac/images/ff18d1a8-1e82-43b0-9f90-c2816d4152ff.png" style="height: 2.7812in; width: 2.0833in;" width="200" /><span style="color: #202020; font-family: Helvetica, sans-serif; font-size: 10.5pt; line-height: 21px;">Under what conditions do minority stories travel from the periphery to the centre? Technologized border regimes transform bodies with great speed into data and embed them within archives of suspicion. Examining the performance of surveillance rituals directed towards Muslim women at airports, this presentation discusses how classifications at digital frontiers reproduce familiar patterns of discrimination. The objections raised by Muslim women about the circulation of their cellular data serve as a point of departure to rethink national belonging in terms of the new itinerancy of data, corporeal transparency and the digital archive as expression and identification<br /><br /><br /><strong><span style="font-family: Helvetica, sans-serif;">Bio</span></strong><b><br /><strong><span style="font-family: Helvetica, sans-serif;">Radha S. Hegde</span></strong></b><span class="Apple-converted-space"> </span>is Professor in the Department of Media, Culture and Communication at New York University. She is the author of<span class="Apple-converted-space"> </span><em><span style="font-family: Helvetica, sans-serif;">Mediating Migration<span class="Apple-converted-space"> </span></span></em>(2016), editor of<span class="Apple-converted-space"> </span><em><span style="font-family: Helvetica, sans-serif;">Circuits of Visibility: Gender and Transnational Media Cultures<span class="Apple-converted-space"> </span></span></em>(2011), and co-editor of<span class="Apple-converted-space"> </span><em><span style="font-family: Helvetica, sans-serif;">Routledge Handbook of the Indian diaspora</span></em><span class="Apple-converted-space"> </span>(2017)<em><span style="font-family: Helvetica, sans-serif;">.</span></em><span class="Apple-converted-space"> </span>Currently she serves as the Dahlem International Network Professor for Gender Studies at the Freie Universität in Berlin.<br /><br /><em><span style="font-family: Helvetica, sans-serif;">Registration is compulsory</span></em><br /><br /><strong><span style="font-family: Helvetica, sans-serif;">Practical information</span></strong></span></div>
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<li class="MsoNormal" style="color: #202020; font-family: Calibri, sans-serif; font-size: 11pt; line-height: 22px; margin: 0cm 0cm 0.0001pt;"><strong><span style="font-family: Helvetica, sans-serif; font-size: 10.5pt; line-height: 21px;">Time:<span class="Apple-converted-space"> </span></span></strong><span style="font-family: Helvetica, sans-serif; font-size: 10.5pt; line-height: 21px;">15:30-17:00</span></li>
<li class="MsoNormal" style="color: #202020; font-family: Calibri, sans-serif; font-size: 11pt; line-height: 22px; margin: 0cm 0cm 0.0001pt;"><strong><span style="font-family: Helvetica, sans-serif; font-size: 10.5pt; line-height: 21px;">Location: </span></strong><span style="font-family: Helvetica, sans-serif; font-size: 10.5pt; line-height: 21px;">Entrance at Muntstraat 2A, MCW-LAB (Grote zaal KNG20)</span></li>
<li class="MsoNormal" style="color: #202020; font-family: Calibri, sans-serif; font-size: 11pt; line-height: 22px; margin: 0cm 0cm 0.0001pt;"><strong><span style="font-family: Helvetica, sans-serif; font-size: 10.5pt; line-height: 21px;">Register</span></strong><span style="font-family: Helvetica, sans-serif; font-size: 10.5pt; line-height: 21px;"><span class="Apple-converted-space"> </span>by sending an email to:<span class="Apple-converted-space"> </span><a href="mailto:nog@uu.nl" style="color: purple; text-decoration: underline;">nog@uu.nl</a></span></li>
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Sandra Ponzanesihttp://www.blogger.com/profile/11134569559515878598noreply@blogger.comtag:blogger.com,1999:blog-4940648352996910215.post-45862737743913620662019-05-05T09:17:00.000-07:002019-05-05T09:28:46.771-07:00SCREENING AND LECTURE BY SERGIO RIGOLETTO (UNIVERSITY OF OREGON, USA)<h2 style="text-align: center;">
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<b style="color: #cc0000; font-family: inherit;"><span style="font-size: 14pt;">PCI Film Series presents </span></b><b style="color: #cc0000; font-family: inherit;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Call Me by Your Name</span></i></b><span style="color: #cc0000; font-size: 14pt;"> <b>(dir. Luca Guadagnino, 2017)</b></span><b style="color: #cc0000; font-family: inherit;"> <i> </i></b></div>
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<span style="color: #cc0000;"><b><i><br /></i></b></span><span style="color: #cc0000;"><b><i>Introduced by Sergio Rigoletto</i></b><span style="text-transform: uppercase;"> </span><b style="mso-bidi-font-weight: normal;">(University of Oregon, USA)</b> </span><span style="color: red; font-family: "helvetica"; mso-bidi-font-family: Calibri;"><br style="mso-special-character: line-break;" /></span></div>
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<span style="font-family: inherit;"><b style="mso-bidi-font-weight: normal;">A<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> sensual and transcendent tale of first love, based on the acclaimed novel by André Aciman</span></b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="color: black;"> </span></span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbOGJNxYS1kjA8uwJi9VjmEOd4qyKwihQl-lesn8161CiGvjOQ9aEKeF1a2MzENFIjLVQgBl1VeaNJ09rgY2XAYC59QmrZyGU1WFDmzt6G4Zkh_G0uiRIGdhe5Cfhg-tOpbZi7eLe_WEY/s1600/call+me+by+your+name.png" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="462" data-original-width="320" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbOGJNxYS1kjA8uwJi9VjmEOd4qyKwihQl-lesn8161CiGvjOQ9aEKeF1a2MzENFIjLVQgBl1VeaNJ09rgY2XAYC59QmrZyGU1WFDmzt6G4Zkh_G0uiRIGdhe5Cfhg-tOpbZi7eLe_WEY/s320/call+me+by+your+name.png" style="cursor: move;" width="221" /></a></span></div>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>CALL ME BY YOUR NAME</b>, the new film
by Luca Guadagnino, is a sensual and transcendent tale of first love,
based on the acclaimed novel by André Aciman. It's the summer of 1983 in
the north of Italy, and Elio Perlman (Timothée Chalamet), a precocious
17-year-old young man, spends his days in his family's 17th century
villa transcribing and playing classical music, reading, and flirting
with his friend Marzia (Esther Garrel). Elio enjoys a close relationship
with his father (Michael Stuhlbarg), an eminent professor specializing
in Greco-Roman culture, and his mother Annella (Amira Casar), a
translator, who favor him with the fruits of high culture in a setting
that overflows with natural delights. While Elio's sophistication and
intellectual gifts suggest he is already a fully-fledged adult, there is
much that yet remains innocent and unformed about him, particularly
about matters of the heart. One day, Oliver (Armie Hammer), a
24-year-old American college graduate student working on his doctorate,
arrives as the annual summer intern tasked with helping Elio's father.
Amid the sun-drenched splendor of the setting, Elio and Oliver discover
the heady beauty of awakening desire over the course of a summer that
will alter their lives forever. Source (IMDb)</span></div>
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</span></b><i style="mso-bidi-font-style: normal;"><span style="font-size: 10pt;">Call me by your Name </span></i><span style="font-size: 10pt;">(dir. Luca Guadagnino, Italy, France, Brazil, Usa
2017, 2.21 min)</span></span></div>
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<span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 10pt;">Date</span></b><span style="font-size: 10pt;">: 13 May <br />
<b style="mso-bidi-font-weight: normal;">Time</b>: 17.00- 19.30<br />
<b style="mso-bidi-font-weight: normal;">Location</b>: Entrance at
Muntstraat 2A, MCW-LAB (Grote zaal KNG20)<br />
For more information: <a href="http://www.postcolonialstudies.nl/"><span style="color: purple;">http://www.postcolonialstudies.nl/</span></a><span style="color: black;"></span></span></span></div>
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<!--StartFragment-->
<!--EndFragment--><br />
<div class="MsoNormal" style="text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBGMl5WkJTG1p7O0PtCNR-atogm3D8fE3ECGzuyGtOq9Be2OSANYjzmVf0xAlm88bMeCxXLViz4u2GhC-7SEjd5hZLF-VFaa2BDWdy3dBLNXUGwMzy8KN9wp3wybQfux4YffoN_p6NZMY/s1600/Afbeelding1.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="468" data-original-width="350" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBGMl5WkJTG1p7O0PtCNR-atogm3D8fE3ECGzuyGtOq9Be2OSANYjzmVf0xAlm88bMeCxXLViz4u2GhC-7SEjd5hZLF-VFaa2BDWdy3dBLNXUGwMzy8KN9wp3wybQfux4YffoN_p6NZMY/s320/Afbeelding1.png" width="239" /></a><br />
<br />
<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">Under what
conditions do minority stories travel from the periphery to the centre? What
compromises are required for these stories to enter mainstream contexts of
production, distribution and consumption? Is this journey from the periphery to
the center always already haunted by the experience of loss and by the betrayal
of an original, truthful story?<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">At a time in
which more and more film festivals historically dedicated to gay and lesbian
issues leave behind their identity politics markers (e.g. the London Lesbian
and Gay Film Festival changing its name to BFI Flare) and filmmaker Xavier
Dolan angrily refuses to accept the Queer Palme at the 2012 Cannes Film
Festival under the motivation that “we shouldn’t label a film ‘gay’”, these
questions lay out some of the problems around the promotion, circulation and
reception of stories which allegedly transcend their concern with difference
and particularity in order to speak to all of us.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">Ever since <i style="mso-bidi-font-style: normal;">Call Me By Your Name</i> premiered at the
Sundance Film Festival, a common response to the film has been to celebrate it
as a powerfully universal story. Exploring some of the distinctive ways in
which the film may allow this type of response, this lecture asks whether <i style="mso-bidi-font-style: normal;">Call Me By Your Name</i> epitomizes a
post-political moment for the kind of cinema that deals with LGBTQ lives, one
in which the exclusionary trap of identity politics gets replaced by the
universal aspiration to address everybody.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">This lecture
seeks to expose and make sense of the lingering (homophobic) specters that,
according to several critics, have been banished from the dreamy arcadia of the
Italian villa in which the love between Elio and Oliver blossoms. It will show
that these specters are present in the form of a strange, eerie affect that
haunts the film. By exploring the impact of this affect on the conditions of
plausibility of the story, the lecture will demonstrate that CMBYN is indeed a
universal story not despite but because of the function and significance of
homosexuality within the film. It will show that the claim of universality
carries an implicit aspiration to go beyond difference, an aspiration that is
most apparent in the gesture of the benevolent critic who mentions the question
of homosexuality within CMBYN only to quickly assert its irrelevance. This
aspiration produces an excess that returns to haunt the experience of universal
spectatorship that the film claims to address.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">The lecture
ultimately asks whether the category of ‘universality’ may be rescued from its
traditionally essentialist grounding to account for contemporary conditions of
spectatorships and experiences that do not elide difference but appear
inextricably informed by it.<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Sergio Rigoletto</span></b><span lang="EN-US"> is Associate
Professor of Italian and Cinema Studies at the University of Oregon (USA). He
has a joint appointment in the Cinema Studies program and in the department of
Romance Languages. His expertise is in European Cinema (especially Italian),
Queer Cinema, Stars Studies, Film Comedy, and Television. His current research
focuses on film star Anna Magnani, the question of authenticity in the media,
and the queer art film. Some of his most recent publications are: <i style="mso-bidi-font-style: normal;">Masculinity and Italian Cinema: Sexual
Politics, Social Conflict and Male Crisis in the 1970s</i> (Edinburgh
University Press: Edinburgh, 2014); <i style="mso-bidi-font-style: normal;">Popular
Italian Cinema</i> (co-edited with Louis Bayman) (Palgrave: Basingstoke, 2013).</span></span></div>
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" Priority="0" SemiHidden="true"
UnhideWhenUsed="true" Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
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<span lang="EN-US" style="background: white;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: small;">Data 22 May, 2019<o:p></o:p></span></span></div>
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<span lang="EN-US" style="background: white; color: black;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: small;">Location: Utrecht University: Drift 21,
0.32</span><span style="font-family: "calibri" , sans-serif; font-size: 14.5pt;"><o:p></o:p></span></span></div>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4940648352996910215.post-68709918775370504432018-12-02T11:21:00.003-08:002019-02-03T09:19:31.035-08:00CONFERENCE PIN, POSTCOLONIAL INTELLECTUALS AND THEIR EUROPEAN PUBLICS<h2>
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<span style="font-size: 12px;">Utrecht, 5-6 February 2019</span></h2>
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<span style="font-size: 12px;">FULL PROGRAMME NOW AVAILABLE <a href="https://www.uu.nl/sites/default/files/gw_pin_conference_programme.pdf" target="_blank">HERE</a></span></h2>
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<table align="left" border="0" cellpadding="0" cellspacing="0" class="mcnTextContentContainer" style="background-color: white; border-collapse: collapse; color: black; max-width: 100%; min-width: 100%; text-size-adjust: 100%; width: 100%px;"><tbody>
<tr><td class="mcnTextContent" style="color: #202020; font-size: 14px; line-height: 21px; padding: 0px 18px 9px;" valign="top"><div style="line-height: 21px; margin-bottom: 10px; margin-top: 10px; padding: 0px; text-size-adjust: 100%;">
<span style="font-family: "helvetica";"><span style="border-color: initial; border-image: initial; border-style: initial; outline-color: initial; outline-width: initial;"><img align="right" data-file-id="3276745" height="300" src="https://gallery.mailchimp.com/ab50c595db722886e10aad6ac/images/236ef68b-9ee9-4677-99e6-cd2ecbdfdc4c.jpeg" style="border: 0px; height: 300px; margin: 0px 0px 10px 10px; outline: none; width: 200px;" width="200" /></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Who are the postcolonial intellectuals? Which of them are currently the most influential? What kind of intellectual activity do collectivities, networks and movements gathering around issues of race and citizenship perform? How do postcolonial academics, artists, writers, parties and movements respond to current timely issues in the European landscape such as migration, citizenship and the legacies of colonialism? How do they contribute to a new idea of “Europe” and relate to Western categories of modernity? Are their critical tools effective enough?</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The <b>PIN – Postcolonial Intellectuals and their European Publics</b> network, not only focuses on postcolonial intellectuals as outspoken individuals, but also challenges the traditional definition of the “public intellectual” by emphasizing the role of artists, writers, activists and social movements in shaping postcolonial publics and knowledges.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Postcolonial Intellectuals and their European Publics network (PIN) brings together an international and interdisciplinary network of scholars to investigate the role of postcolonial public intellectuals as crucial actors in renewing the function of the humanities and of democratic participation in Europe.</span><br />
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<b><span style="font-family: "arial" , "helvetica" , sans-serif;">Organizer:</span></b><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="color: #cc0000;">Prof. Sandra Ponzanesi </span></b>(Utrecht University) </span><br />
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Confirmed Keynote speakers: <img data-file-id="3320881" height="240" src="https://gallery.mailchimp.com/ab50c595db722886e10aad6ac/images/59b06f4b-12b1-45ef-9859-7c78f7eb7449.jpg" style="border: 0px; float: right; height: 240px; margin: 0px; outline: none; width: 160px;" width="160" /></div>
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<a href="https://barnard.edu/profiles/kaiama-l-glover" style="color: crimson; text-size-adjust: 100%;" target="_blank"><b>Prof. Kaiama Glover</b></a>, <b>Associate Professor of French and Africana Studies</b>, <b>Barnard College, Columbia University, USA</b>.<br />
<i>On Blackness and Borders </i></div>
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Having received a B.A. in French History and Literature and Afro-American Studies from Harvard University and a Ph.D. in French and Romance Philology from Columbia University, Professor Glover joined the faculty in 2002. Her teaching and research interests include francophone literature, particularly that of Haiti and the French Antilles; colonialism and postcolonialism; and sub- Saharan francophone African cinema.. Her book, <i>Haiti Unbound: A Spiralist Challenge to the Postcolonial Canon </i>(Liverpool UP 2010), addresses the general issue of canon formation in the francophone Caribbean and the particular fate of the Haitian Spiralist authors vis-à-vis this canon. Professor Glover has been the recipient of fellowships and awards from the Fulbright Foundation, the Mellon Foundation, The New York Public Library, the PEN/Heim Foundation, the National Endowment for the Arts, and the National Endowment for the Humanities, and she is a regular contributor to <i>The New York Times Book Review. </i>Continue reading <i><a href="https://barnard.edu/profiles/kaiama-l-glover" style="color: crimson; text-size-adjust: 100%;" target="_blank">here</a></i>.<br />
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<b><a href="https://tisch.nyu.edu/about/directory/drama/92524863" style="color: crimson;" target="_blank">Prof. Awam Amkpa</a>,</b> <b>Associate Professor, </b><b>New York University</b><b>, </b><b>Tisch School of The Arts, USA.<br /><img data-file-id="3374061" height="183" src="https://gallery.mailchimp.com/ab50c595db722886e10aad6ac/images/c51b5190-7bb5-4e6e-a223-bc03691bc686.jpeg" style="border: 0px; float: right; height: 183px; margin: 0px; outline: none; width: 183px;" width="183" /></b><br />
<i>Political Activism and its Legibilities</i><br />
Trained as a dramatist, documentary filmmaker and scholar of theatre and film, Awam Amkpa teaches Drama at New York University’s Tisch School of the Arts, Africana Studies and Social and Cultural Analysis in NYU’s College of Arts and Sciences and is global visiting professor at NYU Abu Dhabi. Former Senior Lecturer of Drama and Television at King Alfred’s University College, Winchester, England, and Assistant Professor of Theatre Arts at Mount Holyoke College. Author of <i>Theatre and Postcolonial Desires</i>, London: Routledge, 2003 and forthcoming <i>Archetypes, Stereotypes and Polytypes: Theatres of the Black Atlantic</i>. Director of film documentaries such as <i>Winds Against Our Souls</i>, <i>Its All About Downtown</i>, <i>National Images</i> <i>and</i> <i>Transnational Desires</i>, and feature film <i>Wazobia</i>! Author of several articles in books and journals on <i>Modernisms in Theatre</i>, <i>Postcolonial theatre</i>, <i>Black Atlantic Issues</i>, and <i>Film studies. </i>Awam Amkpa is also a curator of visual and performing arts. He recently curated, Resignifications for Manifesta 12, Palermo, Lines Motions and Rituals in New York, Significaciones in Havana, Cuba, ReSignifications in Florence, Italy and the international traveling exhibition Africa: See You, See Me. Amkpa is co-founder and co-curator of ‘Real Life Pan-African Documentary Film Festival’ in Accra, Ghana.</div>
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<b>Practical information</b><br />
Date: 5-6 February 2019<br />
Time: 09.00 - 19.00<br />
Location:<b> </b>Drift 21, room 0.05 <b>Sweelinckzaal</b> (entrance drift 27)<br />
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The conference is free of charge but registration is required. Please e-mail e.omerovic@uu.nl for registration.<br />
THE FULL PROGRAMME CAN BE FOUND <a href="https://www.academia.edu/38198759/Postcolonial_Intellectuals_and_their_European_Publics._Conference_Programme_Utrecht_University_5-6_February_2019_" target="_blank">HERE</a><br />
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Abstracts and Bios can be accessed <a href="https://www.academia.edu/38273662/Conference_PIN_Postcolonial_Intellectuals_and_their_European_Publics._Abstracts_and_Bios_Utrecht_University_5-6_February_2019_" target="_blank">HERE</a><br />
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<i>Photo courtesy of </i>© Omar Victor Diop, <i>Sashakara</i>, 2016, Le Studio des Vanités</div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4940648352996910215.post-85072759902028952392018-12-02T11:20:00.001-08:002019-01-08T04:58:50.040-08:00Book presentation Postcolonial Intellectuals in Europe, ed. by Sandra Ponzanesi and Adriano José Habed<h2 style="background-color: white; color: crimson; font-family: "Helvetica Neue", Helvetica, Arial, Verdana, sans-serif; font-size: 18px; line-height: 22.5px; margin: 0px; padding: 0px;">
<span style="font-size: 12px;">5-6 February 2019, Utrecht University</span></h2>
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<img align="right" data-file-id="3276729" height="300" src="https://gallery.mailchimp.com/ab50c595db722886e10aad6ac/images/96a33b27-c243-4acd-9540-37098c29d7d2.jpeg" style="border: 0px; height: 300px; margin: 0px 0px 10px 10px; outline: none; width: 200px;" width="200" /></div>
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<strong>Speakers</strong></div>
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<em>Among the confirmed speakers/contributors: </em><br /><em>Bolette B. Blaagaard, Rosemarie Buikema, Gianmaria Colpani, Adriano Jose Habed, Wigbertson Julian Isenia, Koen Leurs, Jamila M. H. Mascat, Ana Cristina Mendes, Sandra Ponzanesi, Mehdi Sajid, Neelam Srivastava, Jesse van Amelsvoort.</em><br />Special guest: Rosi Braidotti.<br /><br />Postcolonial intellectuals have engaged with and deeply impacted upon European society since the figure of the intellectual emerged at the beginning of the nineteenth century. Yet a critical assessment and overview of their influential roles is long overdue, particularly in the light of contemporary debates in Europe and beyond.<br />With interventions by Engin Isin, Gayatri C. Spivak and Bruce Robbins. Read more <a href="https://www.rowmaninternational.com/book/postcolonial_intellectuals_in_europe/3-156-e19f5d6e-49d9-4611-98bc-f55dc222ee9f" style="color: crimson; text-size-adjust: 100%;" target="_blank">here</a>. Click <a href="https://www.rowmaninternational.com/book/postcolonial_intellectuals_in_europe/3-156-e19f5d6e-49d9-4611-98bc-f55dc222ee9f" style="color: crimson; text-size-adjust: 100%;" target="_blank">here</a> for more information about this book.<br /><br /><span style="font-size: 13px;"><strong>Practical information</strong></span><br />Date: 5 February 2019<br />Time: 16.00 - 18.30<br />Location:<strong> </strong>Drift 21, room 0.05 <strong>Sweelinckzaal</strong> (entrance drift 27)<br /><br />Please e-mail e.omerovic@uu.nl for registration.</div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4940648352996910215.post-12398681906281530782018-12-01T05:37:00.000-08:002019-05-04T14:08:47.688-07:008th PCI FILM SERIES announcements for January and February 2019<table border="0" cellpadding="0" cellspacing="0" class="mcnTextBlock" style="border-collapse: collapse; color: black; min-width: 100%; text-size-adjust: 100%; width: 100%px;"><tbody class="mcnTextBlockOuter">
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<b style="color: #cc0000; font-family: inherit;"><span style="font-size: 14pt;">PCI Film Series presents </span></b><b style="color: #cc0000; font-family: inherit;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Call Me by Your Name</span></i></b><span style="color: #cc0000; font-size: 14pt;"> <b>(dir. Luca Guadagnino, 2017)</b></span><b style="color: #cc0000; font-family: inherit;"> <i> </i></b></div>
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<span style="color: #cc0000;"><b><i><br /></i></b></span><span style="color: #cc0000;"><b><i>Introduced by Sergio Rigoletto</i></b><span style="text-transform: uppercase;"> </span><b style="mso-bidi-font-weight: normal;">(University of Oregon, USA)</b> </span><span style="color: red; font-family: "helvetica"; mso-bidi-font-family: Calibri;"><br style="mso-special-character: line-break;" /></span></div>
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<span style="font-family: inherit;"><b style="mso-bidi-font-weight: normal;">A sensual and transcendent tale of first love, based on the acclaimed novel by André Aciman</b><span style="color: black;"> </span></span></div>
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<span style="font-family: inherit;">CALL ME BY YOUR NAME, the new film by Luca Guadagnino, is a sensual and transcendent tale of first love, based on the acclaimed novel by André Aciman. It's the summer of 1983 in the north of Italy, and Elio Perlman (Timothée Chalamet), a precocious 17-year-old young man, spends his days in his family's 17th century villa transcribing and playing classical music, reading, and flirting with his friend Marzia (Esther Garrel). Elio enjoys a close relationship with his father (Michael Stuhlbarg), an eminent professor specializing in Greco-Roman culture, and his mother Annella (Amira Casar), a translator, who favor him with the fruits of high culture in a setting that overflows with natural delights. While Elio's sophistication and intellectual gifts suggest he is already a fully-fledged adult, there is much that yet remains innocent and unformed about him, particularly about matters of the heart. One day, Oliver (Armie Hammer), a 24-year-old American college graduate student working on his doctorate, arrives as the annual summer intern tasked with helping Elio's father. Amid the sun-drenched splendor of the setting, Elio and Oliver discover the heady beauty of awakening desire over the course of a summer that will alter their lives forever. Source (IMDb)</span></div>
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<span style="font-family: inherit;"><span style="color: #202020;"><i style="mso-bidi-font-style: normal;">Call me by your Name </i>(dir. </span>Luca Guadagnino, Italy, France, Brazil, Usa 2017, 2.21 min)</span></div>
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<span style="font-family: inherit;">Date: 13 May </span></div>
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<span style="font-family: inherit;"><span style="color: #202020;">Time: 17.00- 19.30<br />
<b>Location: </b>Entrance at Muntstraat 2A, MCW-LAB (Grote zaal KNG20)<br />
For more information: </span><a href="http://www.postcolonialstudies.nl/"><span style="color: purple;">http://www.postcolonialstudies.nl/</span></a><span style="color: black;"></span></span></div>
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<span style="font-family: inherit;">Admission is free of charge. <b>However, due to safety regulations, maximum capacity of the room is 80 people. </b>No exceptions are made. First come, first seated</span><br />
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PCI Film Series presents I Am Not Your Negro (dir. Raoul Peck, 2016) </h2>
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<i>Introduced by Alessandra Benedicty-Kokken</i> <i>(CUNY, USA)</i></h2>
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<b>I Am Not Your Negro review: race, rage and the American Dream.</b><br />
Directed by Haitian-born Raoul Peck's <i>I Am Not Your Negro</i>, is a radical documentary about race in America today based on James Baldwin's unfinished book <i>Remember This House</i>. Peck has created one of the most progressive filmographies in cinema history. He received privileged access to the Baldwin archives because the family knew of his outstanding works on the Conga leader, Patrice Lumumba, specifically the 1990 political thriller Lumumba: Death of a Prophet and the 2000 award winning drama on the same subject, Lumumba. They trusted in his ability to accurately represent Baldwin's life and writings, and so he took 10 years to bring this masterpiece to the screen, after being rejected by every American studio he approached. And public agencies said "this is public money so you have to present both sides!" Thus, his ability to produce this film through his own successful company and a supportive French TV station ARTE, allowed him to make a film exactly like he wanted, with no censorship, and no one telling him to rush the film or mellow the message. Peck "didn't want to use the traditional civil rights archives." He chose to avoid the talking heads format and picked Samuel L. Jackson to embody the spirit of Baldwin in the potent narration. The film's powerful structure utilizing rare videos and photos and personal writings of Baldwin, and at the same time aligning them with contemporary issues of police brutality and race relations, creates a mesmerizing awareness of the continuity in the struggle for civil rights.</div>
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<b>Practical information</b><br />
I Am Not Your Negro (2017, dir. Raoul Peck, France, United States, Switzerland, Belgium)<br />
Date: 12 February<br />
Time: 17.15 - 20.00<br />
<b>Location: </b>Entrance at Muntstraat 2A, MCW-LAB (Grote zaal KNG20)</div>
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Admission is free of charge. <b>However, due to safety regulations, maximum capacity of the room is 80 people. </b>No exceptions are made. First come, first seated.<br />
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PCI Film Series presents Happy End (dir. Michael Haneke, 2017) </h2>
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<b>A drama about a family set in Calais with the European refugee crisis as the backdrop.</b></div>
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<i>Happy End</i> dissects an unhappy, self-deceiving family. And yet Jean-Louis Trintignant, as a patriarch this time slipping into dementia himself, has a beautifully intimate conversation with his 12-year-old granddaughter Eve (Fantine Harduin). Even if, this still being Haneke, she’s probably a murderer, and their heart to heart is about poison and suicide. “He’s a more humanistic director than he seems,” Huppert has noted. “There is of course no sentimentality, but there is a belief in mankind.”</div>
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“It’s a North-South conflict,” Haneke’s says. “The rich countries against the poor. That’s been confirmed categorically, since <i>Code Unknown</i>. Refugees aren’t a simple problem, and there are no simple solutions, but a solution has to be found. The problem is that, for a lot of people at the moment, the solution is a shift to the right. I’m especially sceptical of comparisons with the 1930s. But this current atmosphere, with everyone dancing on the edge of the volcano, has a parallel there. Because in my youth, immediately after the war, everybody thought that things would get better – because everything could only get better, after that. But now everybody thinks that things can only get worse, and that is a parallel to the situation before World War Two.” (The Guardian)</div>
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<b>Practical information</b><br />
Happy End (2017, dir. Michael Haneke, France, Germany, Austria)<br />
Date: 11 March<br />
Time: 17.15- 20.00<br />
<b>Location: </b>Entrance at Muntstraat 2A, MCW-LAB (Grote zaal KNG20)</div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4940648352996910215.post-86591736657194202702018-11-12T05:09:00.003-08:002019-02-03T09:18:46.882-08:00Conference PIN, Postcolonial Intellectuals and Their European Publics<h2 class="mc-toc-title" style="text-align: justify;">
<span style="font-size: 12px;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Utrecht, 5-6 February 2019</span></span></h2>
<img align="right" data-cke-saved-src="https://gallery.mailchimp.com/ab50c595db722886e10aad6ac/images/236ef68b-9ee9-4677-99e6-cd2ecbdfdc4c.jpeg" data-file-id="3276745" height="300" src="https://gallery.mailchimp.com/ab50c595db722886e10aad6ac/images/236ef68b-9ee9-4677-99e6-cd2ecbdfdc4c.jpeg" style="height: 300px; margin: 0px 0px 10px 10px; width: 200px;" width="200" /><span style="font-family: "arial" , "helvetica" , sans-serif;">Who are the postcolonial intellectuals? Which of them are currently the most influential? What kind of intellectual activity do collectivities, networks and movements gathering around issues of race and citizenship perform? How do postcolonial academics, artists, writers, parties and movements respond to current timely issues in the European landscape such as migration, citizenship and the legacies of colonialism? How do they contribute to a new idea of “Europe” and relate to Western categories of modernity? Are their critical tools effective enough?<br /><br />The <b>PIN – Postcolonial Intellectuals and their European Publics</b> network, not only focuses on postcolonial intellectuals as outspoken individuals, but also challenges the traditional definition of the “public intellectual” by emphasizing the role of artists, writers, activists and social movements in shaping postcolonial publics and knowledges.<br />Postcolonial Intellectuals and their European Publics network (PIN) brings together an international and interdisciplinary network of scholars to investigate the role of postcolonial public intellectuals as crucial actors in renewing the function of the humanities and of democratic participation in Europe.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">We welcome abstracts that engage with the topics and questions addressed above.<br />Please e-mail your abstract (250 words), bio (150words) and possible questions to: <b>s.ponzanesi@uu.nl</b></span><br />
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<li><span style="font-family: "arial" , "helvetica" , sans-serif;">Confirmed Keynote speaker: </span><img data-cke-saved-src="https://gallery.mailchimp.com/ab50c595db722886e10aad6ac/images/59b06f4b-12b1-45ef-9859-7c78f7eb7449.jpg" data-file-id="3320881" height="240" src="https://gallery.mailchimp.com/ab50c595db722886e10aad6ac/images/59b06f4b-12b1-45ef-9859-7c78f7eb7449.jpg" style="border: 0px; float: right; height: 240px; margin: 0px; width: 160px;" width="160" /><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><a data-cke-saved-href="https://barnard.edu/profiles/kaiama-l-glover" href="https://barnard.edu/profiles/kaiama-l-glover" target="_blank"><b>Prof. Kaiama Glover</b></a>, <b>Associate Professor of French and Africana Studies</b></span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><i>On Border and Blackness</i> </b><br />Barnard College, Columbia University, USA.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Having received a B.A. in French History and Literature and Afro-American Studies from Harvard University and a Ph.D. in French and Romance Philology from Columbia University, Professor Glover joined the faculty in 2002. Her teaching and research interests include francophone literature, particularly that of Haiti and the French Antilles; colonialism and postcolonialism; and sub- Saharan francophone African cinema.. Her book, <i>Haiti Unbound: A Spiralist Challenge to the Postcolonial Canon </i>(Liverpool UP 2010), addresses the general issue of canon formation in the francophone Caribbean and the particular fate of the Haitian Spiralist authors vis-à-vis this canon. Professor Glover has been the recipient of fellowships and awards from the Fulbright Foundation, the Mellon Foundation, The New York Public Library, the PEN/Heim Foundation, the National Endowment for the Arts, and the National Endowment for the Humanities, and she is a regular contributor to <i>The New York Times Book Review. </i>Continue reading <i><a data-cke-saved-href="https://barnard.edu/profiles/kaiama-l-glover" href="https://barnard.edu/profiles/kaiama-l-glover" target="_blank">here</a></i>.</span></li>
<li><br /><div style="font-family: helvetica; line-height: 21px; margin-bottom: 10px; margin-top: 10px; padding: 0px;">
<b><a href="https://tisch.nyu.edu/about/directory/drama/92524863" style="color: crimson;" target="_blank">Prof. Awam Amkpa</a>,</b> <b>Associate Professor, </b><b>New York University</b><b>, </b><b>Tisch School of The Arts, USA.</b><br />
<b><i>Political Activism and its Legibilities</i><br /><img data-file-id="3374061" height="183" src="https://gallery.mailchimp.com/ab50c595db722886e10aad6ac/images/c51b5190-7bb5-4e6e-a223-bc03691bc686.jpeg" style="border: 0px; float: right; height: 183px; margin: 0px; outline: none; width: 183px;" width="183" /></b><br />
Trained
as a dramatist, documentary filmmaker and scholar of theatre and film,
Awam Amkpa teaches Drama at New York University’s Tisch School of the
Arts, Africana Studies and Social and Cultural Analysis in NYU’s College
of Arts and Sciences and is global visiting professor at NYU Abu
Dhabi. Former Senior Lecturer of Drama and Television at King Alfred’s
University College, Winchester, England, and Assistant Professor of
Theatre Arts at Mount Holyoke College. Author of <i>Theatre and Postcolonial Desires</i>, London: Routledge, 2003 and forthcoming <i>Archetypes, Stereotypes and Polytypes: Theatres of the Black Atlantic</i>. Director of film documentaries such as <i>Winds Against Our Souls</i>, <i>Its All About Downtown</i>, <i>National Images</i> <i>and</i> <i>Transnational Desires</i>, and feature film <i>Wazobia</i>! Author of several articles in books and journals on <i>Modernisms in Theatre</i>, <i>Postcolonial theatre</i>, <i>Black Atlantic Issues</i>, and <i>Film studies. </i>Awam
Amkpa is also a curator of visual and performing arts. He recently
curated, Resignifications for Manifesta 12, Palermo, Lines Motions and
Rituals in New York, Significaciones in Havana, Cuba, ReSignifications
in Florence, Italy and the international traveling exhibition Africa:
See You, See Me. Amkpa is co-founder and co-curator of ‘Real Life
Pan-African Documentary Film Festival’ in Accra, Ghana.</div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> We welcome abstracts that engage with the topics and questions addressed above.<br /> Please e-mail your abstract (250 words), bio (150words) and possible questions to: <b>s.ponzanesi@uu.nl</b><br /> More info will follow soon on our website <a data-cke-saved-href="http://www.postcolonialstudies.nl" href="http://www.postcolonialstudies.nl/">www.postcolonialstudies.nl</a><br /><br /><b>Deadlines:</b></span><br />
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<li><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>15 December, 2018</b><br /> an abstract of 250 words; a bio of 150 words;</span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;"> Notification of acceptance: <b>31</b> <b>December</b>, 2018</span></li>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Practical information</b><br />Date: 5-6 February 2019<br />Time: 09.00 - 19.00<br />Location:<b> </b>Drift 21, room 0.05 <b>Sweelinckzaal</b> (entrance drift 27)<br />More info will follow soon on our website <a data-cke-saved-href="http://www.postcolonialstudies.nl" href="http://www.postcolonialstudies.nl/">www.postcolonialstudies.nl</a><br /><br /><i>Photo courtesy of </i>© Omar Victor Diop, <i>Sashakara</i>, 2016, Le Studio des Vanités </span></li>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4940648352996910215.post-48363279577575214522018-11-12T05:05:00.000-08:002018-11-12T05:56:37.873-08:00Book presentation Postcolonial Intellectuals in Europe, ed. by Sandra Ponzanesi and Adriano José Habed<h2 class="mc-toc-title" style="text-align: justify;">
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<strong><span style="font-size: x-small;">28 November, 2018 in Amsterdam</span></strong></h2>
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<span style="font-family: Arial, Helvetica, sans-serif;">Sandra Ponzanesi and Adriano José Habed</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Sudeep Dasgupta and Koen Leurs</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><strong>Respondent</strong>: Susan Legêne Susane</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">This book offers an innovative take on the role of intellectuals in Europe through a postcolonial lens and, in doing so, questions the very definition of "public intellectual," on the one hand, and the meaning of such a thing as "Europe," on the other. It does so not only by offering portraits of charismatic figures such as Stuart Hall, Jacques Derrida, Antonio Gramsci, Frantz Fanon, and Hannah Arendt, among others, but also by exploring their lasting legacies and the many dialogues they have generated. The notion of the ‘classic’ intellectual is further challenged by bringing to the fore artists, writers, and activists, as well as social movements, networks, and new forms of mobilization and collective engagement that are part of the intellectual scene. <em><span style="font-size: 12px;">Publisher: Rowman & Littlefield International, 2018 </span></em><br />Click <a data-cke-saved-href="https://www.rowmaninternational.com/book/postcolonial_intellectuals_in_europe/3-156-e19f5d6e-49d9-4611-98bc-f55dc222ee9f" href="https://www.rowmaninternational.com/book/postcolonial_intellectuals_in_europe/3-156-e19f5d6e-49d9-4611-98bc-f55dc222ee9f" target="_blank">here</a> for more information about this book.<br /><br /><strong>Practical information</strong><br />Place: Free University Amsterdam<br />Wednesday, 28 November, 2018<br />Time 15.30-17.00<br /><em>Registration:</em> Please register at <a data-cke-saved-href="mailto:mdc@vu.nl" href="mailto:mdc@vu.nl">mdc@vu.nl</a></span><br />
<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4940648352996910215.post-55546976173861453182018-11-11T05:41:00.000-08:002018-11-12T05:57:49.105-08:00Book Launch: Postcolonial Intellectuals in Europe: Critics, Artists, Movements, and their Publics, ed. by Sandra Ponzanesi and Adriano José Habed<span style="font-size: x-small;"><em><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></em><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif;">5-6 February 2019</span></span><br />
<em><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></em>
<em><span style="font-family: "arial" , "helvetica" , sans-serif;">Among the confirmed speakers/contributors: </span></em><br />
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<span style="font-size: 14px;"><img data-cke-saved-src="https://gallery.mailchimp.com/ab50c595db722886e10aad6ac/images/96a33b27-c243-4acd-9540-37098c29d7d2.jpeg" data-file-id="3276729" height="286" src="https://gallery.mailchimp.com/ab50c595db722886e10aad6ac/images/96a33b27-c243-4acd-9540-37098c29d7d2.jpeg" style="border: 0px initial; float: right; height: 286px; margin: 0px; width: 180px;" width="180" /></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><em>Bolette B. Blaagaard, Rosemarie Buikema, Gianmaria Colpani, Adriano Jose Habed, Wigbertson Julian Isenia, Koen Leurs, Jamila M. H. Mascat, Ana Cristina Mendes, Sandra Ponzanesi, Mehdi Sajid, Neelam Srivastava, Jesse van Amelsvoort.</em></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Special guest: Rosi Braidotti.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Postcolonial intellectuals have engaged with and deeply impacted upon European society since the figure of the intellectual emerged at the beginning of the nineteenth century. Yet a critical assessment and overview of their influential roles is long overdue, particularly in the light of contemporary debates in Europe and beyond.</span><span style="font-family: "arial" , "helvetica" , sans-serif;">With interventions by Engin Isin, Gayatri C. Spivak and Bruce Robbins. Read more <a data-cke-saved-href="https://www.rowmaninternational.com/book/postcolonial_intellectuals_in_europe/3-156-e19f5d6e-49d9-4611-98bc-f55dc222ee9f" href="https://www.rowmaninternational.com/book/postcolonial_intellectuals_in_europe/3-156-e19f5d6e-49d9-4611-98bc-f55dc222ee9f" target="_blank">here</a>. </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><strong>Practical information</strong></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Date: 5-6 February 2019</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Time: 15.00 - 18.00</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Location:<strong> </strong>Drift 21, room 0.05 <strong>Sweelinckzaal</strong> (entrance drift 27)</span></div>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4940648352996910215.post-12099907398532644922018-06-24T14:19:00.000-07:002018-06-28T18:35:55.510-07:00<div class="separator" style="clear: both; text-align: center;">
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CONFERENCE REPORT NOW AVAILABLE:<br />
<h1>
<span itemprop="name" style="font-size: large;"><span style="font-size: x-large;">Migration and Mobility in a Digital Age:</span> Paradoxes of Connectivity and Belonging</span></h1>
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In April 2018, a
two-day international conference was held at Columbia University, hosted by the
Heyman Center for the Humanities. The event was made possible through co-sponsorship
by many units at Columbia University, including the Division of Humanities and
the Department of English and Comparative Literature, and other universities in
NYC (NYU-MCC and New School-Zolberg Institute) along with European partners.
The conference, entitled “Migration and Mobility in a Digital Age: Paradoxes of
Connectivity and Belonging,” brought together many international scholars who
have been working at the intersection of media and migration for many years
from an interdisciplinary and international perspective. The conference was
opened with words of welcome by the Dean of Humanities <b style="mso-bidi-font-weight: normal;">Sarah Cole.</b> The organizer <b style="mso-bidi-font-weight: normal;">Sandra
Ponzanesi</b> introduced the themes and goals of the conference and highlighted
the major strands of the seven panels and closing two keynote addresses. READ THE FULL REPORT <a href="http://connectingeuropeproject.eu/wp-content/uploads/2018/06/Heyman-Conference-report-10-11-April.pdf">HERE</a></div>
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VISIT THE CONFERENCE<b> PHOTOGALLERY</b><a href="http://connectingeuropeproject.eu/2018/06/22/1217/"> HERE</a><br />
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INTERNATIONAL CONFERENCE</div>
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<b><span itemprop="name" style="font-size: large;">Columbia University </span></b><br />
<span itemprop="location"><a href="http://heymancenter.org/">The Heyman Center for the Humanities</a> </span><br />
<h1>
<span itemprop="name" style="font-size: large;"><span style="font-size: x-large;">Migration and Mobility in a Digital Age:</span> Paradoxes of Connectivity and Belonging</span></h1>
<i class="date">Tuesday, April 10, 2018 - Wednesday, April 11, 2018</i><br />
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<i class="date"> </i> <br />
<h4>
Organizer</h4>
<a href="http://heymancenter.org/people/sandra-ponzanesi/"><span itemprop="name">Sandra Ponzanesi</span></a><br />
<div itemprop="jobTitle">
<ul>
<li><span itemprop="name"> </span>Visiting Professor, Department of English and Comparative Literature<span itemprop="name">Columbia University/Professor Gender and Postcolonial Studies, Utrecht University.</span></li>
</ul>
</div>
<h4>
Keynote Speakers</h4>
<a href="http://heymancenter.org/people/arjun-appadurai/"><span itemprop="name">Arjun Appadurai</span></a> <br />
<ul>
<li itemprop="attendee" itemscope="" itemtype="http://schema.org/Person"><div itemprop="jobTitle">
Paulette Goddard Professor of Media, Culture, and Communication<span itemprop="name">, New York University </span>
</div>
</li>
</ul>
<div itemprop="affiliation" itemscope="" itemtype="http://schema.org/Organization">
<a href="http://heymancenter.org/people/mirca-madianou/"><span itemprop="name">Mirca Madianou</span></a>
<br />
<ul>
<li>Professor in the Department of Media and Communications<span itemprop="name"> Goldsmiths, University of London</span></li>
</ul>
Check the full list of <b>speakers</b> <a href="http://heymancenter.org/events/migration-in-a-digital-age-paradoxes-of-connectivity-and-belonging/">here</a>: <br />
<br />
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</div>
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</div>
<div class="big-column">
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="text" itemprop="description">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglN1CtwoZmPtC0PuapXiX5p6mQLwua1NT9rq1YKI3cezMGDA4QKZnAc5JEyxxqQr_QLmdHBCjmZkVOqxWyCE9yoHtlR_Abz4hbwBSQs1aWessR_athYMbqwM-lLeROj0naIcwdJ4-0FSQz/s1600/Logo_columbia+university.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a>The image of Syrian refugees with a smartphone shooting ‘selfies’
upon reaching dry land has captured the international imagination
(Chouliaraki, 2017; Kunstman, 2017; Risam, forthcoming 2018). It
suggests an image of the ‘connected migrant’ (Diminescu, 2008), which is
shaped by a profound ambivalence: migrants are expected to be people
fleeing from war, violence, and poverty; they are not expected to be
‘digital natives’, equipped with technologies to navigate their
difficult journeys. While smartphones are accessible, affordable, and
easy to use, in the realm of the public imaginary the image of the
disenfranchised and disconnected migrant remains that of the ‘have
nots’, and therefore subject to ‘high tech orientalism’ (Chun, 2006, p.
73). This posits the figuration of the migrant as outside the realm of
development and modern forms of communication, disenfranchised and
vulnerable in order to be worthy of international aid and pity
(Boltanski, 20000; Ticktin, 2008). And yet smartphones are ubiquitous,
and migrants have been early adopters and heavy users of technologies
for the simple reason that these technologies are ingrained in their
daily practices and everyday lives, which often involve perilous
crossings but also the need to keep in touch with the home front and
their diasporic communities. The promise of connectivity that is
guaranteed even under duress becomes fraught with the profound
disconnection brought about by the disciplining gaze of Western media
and publics.<br />
It is, therefore, crucial to focus on the specific way in which
digital technologies bridge or magnify the gap in migration between
geographical distance and digital proximity. How are affect, intimacy,
and belonging negotiated online in the face of forced migration and
expulsions (Sassen, 2012) but also of circular migration, expatriation,
and transnational movements?<br />
This conference aims to cover a broad range of conflict-related
issues on migration in a digital age. Using the latest insights from a
range of interdisciplinary fields, it will explore theories of
displacement such as diaspora, cosmopolitanism, and nomadism, and the
transformations brought about by the digital revolution, through the
analysis of virtual communities, social media platforms, and digital
activism. It will also focus on media production and the regulation of
information on forced migrants in a ‘post-truth’ era: fake news; the
humanitarianism-securitization nexus, migration management, social and
political conflicts related to migrant and diaspora communities,
radicalization and online counter-terrorism, hate speech and racism, but
also solidarities, activism, and protest.<br />
For more info e-mail Sandra Ponzanesi: sp3630@columbia.edu<br />
Or follow the link updates on the programme and schedule:<br />
<a href="http://heymancenter.org/events/migration-in-a-digital-age-paradoxes-of-connectivity-and-belonging/">http://heymancenter.org/events/migration-in-a-digital-age-paradoxes-of-connectivity-and-belonging/</a><br />
<br />
The conference is a collaboration between Columbia University, Heyman Center for the Humanities, and the ERC project <a href="http://www.connectingeuropeproject.eu/">ConnectingEurope</a>
and other co-sponsors (Columbia University, Division of Humanities, New
York University, The New School, IRWGS, Council for European Studies
etc..)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh61lpg8Qvi-8hmucakp9Ar95AaOjJWaHZn_FkXzayaQOiESPEM-HSYgtotC8sYq45ta3qXBjKYXcm3xfEzKVaD9nciGFbkhvt5WMW1_Q1zaknbGF5dMy3FayOVhCFyw6X9mVlTN1KlLu9n/s1600/Heyman+Center+Logo.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="248" data-original-width="366" height="135" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh61lpg8Qvi-8hmucakp9Ar95AaOjJWaHZn_FkXzayaQOiESPEM-HSYgtotC8sYq45ta3qXBjKYXcm3xfEzKVaD9nciGFbkhvt5WMW1_Q1zaknbGF5dMy3FayOVhCFyw6X9mVlTN1KlLu9n/s200/Heyman+Center+Logo.png" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpCvfrW6_MSVifsM_BPM9oaN2h1MIALobbTYwjOJCZzbQJBPi3ztnAiNs6d1l15UZQNVr7GRrF0N8iqU2LrzWOhRgC5oxv9FVvRHPtJveGtRHNI7sbeE-dxq7N6zp0B4EvAjjgQjhZODau/s1600/Logo-ERC.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1448" data-original-width="1500" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpCvfrW6_MSVifsM_BPM9oaN2h1MIALobbTYwjOJCZzbQJBPi3ztnAiNs6d1l15UZQNVr7GRrF0N8iqU2LrzWOhRgC5oxv9FVvRHPtJveGtRHNI7sbeE-dxq7N6zp0B4EvAjjgQjhZODau/s200/Logo-ERC.jpg" width="200" /></a></div>
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Sandra Ponzanesihttp://www.blogger.com/profile/11134569559515878598noreply@blogger.comtag:blogger.com,1999:blog-4940648352996910215.post-10797267782122472012017-10-24T21:25:00.001-07:002017-10-24T21:25:19.015-07:00<div class="meta">
Conference</div>
<div class="intro">
Fourth Annual ACGS Conference - <b>Amsterdam 26-27 October 2017 </b></div>
<h2>
Postcolonial Mediations: Globalisation and Displacement<div class="separator" style="clear: both; text-align: center;">
</div>
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<h4>
</h4>
<h4>
Keynote speakers</h4>
<ul style="margin-left: 40px;">
<li>Victoria Bernal (Professor of Anthropology, University of California, Irvine, US)</li>
<li>Paula Chakravartty (Associate Professor Media, Culture and Communication, New York University, New York, US)</li>
<li>Iain Chambers (Professor of Cultural and Postcolonial Studies, Oriental University, Naples, Italy)</li>
</ul>
<h4>
</h4>
<h4>
Postcolonial Mediations</h4>
Postcolonial thinking has challenged the stability of discourses on
culture, globalisation, economics, human rights and politics.
Postcolonial thinking, as a form of mediation and displacement of
worldviews, triggered a re-evaluation of the complex connections between
culture, class, economy, gender and sexuality. This conference aims to
engage with such postcolonial displacements.<br />
<br />
Displacement can be seen under the rubric of mobility and its many forms
today, most tellingly discernible in the forced movements of peoples in
the wake of wars, and the concomitant crises this provokes around
issues of “culture and civilization”, and its gendered, religious and
raced dimensions. The refugee crisis in Europe is an important case in
point. Cultural productions from the non-West continue to displace
received understandings of other cultures and societies (Chow, 2002,
Narayan, 1997) while contemporary political movements draw inspiration
from postcolonial struggles as they deploy new media forms, as Howard
Caygill (2013) has recently shown in his analyses of the Gandhian
non-violence movement, the continuing Maoist rebellions and their
relation to the Zapatistas and the Indignados. The shifting contours of
gender and sexual politics, and the critique of stable identities
provoked by queer politics and theory, are also producing displacements,
in the discourse and practice of the politics of rights. Local,
regional and national politics often challenge universal rights claims.
e.g. the controversies around the relevance of “Global Queer” (Altman,
1996).<br />
<br />
The postcolonial is understood here simultaneously as a mediating and a
displacing series of interventions, which demands engagement with
contemporary understandings of globalisation.<br />
<br />
for more information about the <b>programme</b> see <b><a href="https://www.academia.edu/34950597/Postcolonial_Meditations._Globalisation_and_Displacement._4th_AGCS_Conference">here</a></b>: <br />
<h4>
Organisers</h4>
Sudeep Dasgupta (University of Amsterdam), John Nguyet Erni (Hong
Kong Baptist University), Aniko Imre (University of Southern
California), Jeroen de Kloet (University of Amsterdam), Sandra Ponzanesi
(Utrecht University), Raka Shome (National University of Singapore)<br />
<h3>
Location</h3>
<h4>
University Theatre</h4>
Nieuwe Doelenstraat 16-18 | 1012 CP Amsterdam<br />
+31 (0)20 525 2997<br />
Sandra Ponzanesihttp://www.blogger.com/profile/11134569559515878598noreply@blogger.comtag:blogger.com,1999:blog-4940648352996910215.post-10937671902016910222017-09-28T03:16:00.000-07:002017-09-28T03:20:37.900-07:00PCI Screening/talk: Tabita Rezaire - Decolonial trinity: technologies of the spiritual, erotic and politic<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">In this PCI screening/talk on October 5 we have the great honor and privilege
to have with us the artist Tabita Rezaire, who will introduce, show and discuss
her video work for an hour, followed by a 30 minutes Q&A session. We end
with drinks. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br />The session is titled <i>Decolonial trinity: technologies of
the spiritual, erotic and politic</i>. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">This event is co-organized by Koen Leurs and Domitilla
Olivieri from the <a href="http://www.genderstudies.nl/">Graduate Gender Programme</a> / <a href="https://graduategenderstudies.nl/">Netherlands Research School ofGender Studies</a> with Michiel De Lange from the New Media & Digital culture
Program, under heading of the the Postcolonial Studies Initiative and
<a href="http://co.laborations/">Co.laborations</a>, the Expertise Centre of Utrecht University's Department of
Media and Culture, and in dialogue with the <a href="http://impakt.nl/">Impakt </a>festival.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Kindly RSVP to this <a href="https://www.facebook.com/events/255415894981160">Facebook event</a> to let us know you are
coming. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Practical information:</span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Thursday October 5, 17.00-18.30. </span></span>
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</span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Kruisstraat 201</span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">3581 GK Utrecht</span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Tabita Rezaire (b.1989, Paris) is a French - of Guyanese and
Danish descent - video artist, health-tech-politics practitioner and Kemetic/
Kundalini Yoga teacher based in Johannesburg. She holds a Bachelor in Economics
(Paris) and a Master in Artist Moving Image from Central Saint Martins College
(London). Rezaire’s practices unearth the possibilities of decolonial healing
through the politics of technology. Navigating architectures of power - online
and offline - her work tackles the pervasive matrix of coloniality and its
affects on identity, technology, sexuality, health and spirituality. Through screen interfaces, her digital healing activism
offers substitute readings to dominant narratives decentering occidental
authority, while her energy streams remind us to resist, (re)connect, and
remember.</span></span>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /><br />Rezaire is a founding member of the artist group NTU, half
of the duo Malaxa, and mother of the energy house SENEB.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> In 2017, she presented her first solo show Exotic Trade at
the Goodman Gallery in Johannesburg. Artsy declared her among the ‘emerging
artists to watch for in 2017’, Artnet among the ‘international Black artists of
2016’, and True Africa amid the ‘top opinion makers of the African continent in
2015’. Rezaire has shown her work internationally – V&A London, National
Gallery of Denmark, Berlin Biennale, Tate Modern London, Museum of Modern Art
Paris, MoCADA NY, The Broad LA and presented her work on numerous panels – Het
Nieuwe Institut Rotterdam, Royal Academy The Hague, Kunsthalle Bern, National
Gallery Harare, Cairotronica Cairo, Fakugezi Digital Art Africa Johannesburg.
She has curated screenings at the Institute of Contemporary Art London, led
spiritual technology workshops worldwide and has her writing published by
Intellect books.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> In 2016, Tabita was a resident at the Utrecht Impakt
festival, see <a href="http://impakt.nl/headquarters/resident-artist-tabita-rezaire/">http://impakt.nl/headquarters/resident-artist-tabita-rezaire/ </a></span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Rezaire lives and works in Johannesburg, South Africa.</span></span> See <a href="http://tabitarezaire.com/info.html">http://tabitarezaire.com/info.html</a></span></span></div>
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koenleurshttp://www.blogger.com/profile/07322315574272690374noreply@blogger.comtag:blogger.com,1999:blog-4940648352996910215.post-13018637938174099972017-05-03T06:13:00.002-07:002017-05-03T06:13:58.084-07:00Professor Roderick A. Ferguson and Dr. Rahul Rao in a Doing Gender and PCI Lecture Series<div dir="ltr" style="text-align: left;" trbidi="on">
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<strong><a href="http://www.graduategenderstudies.nl/doing-gender-lecture-by-prof-roderick-a-ferguson-and-dr-rahul-rao/">Doing Gender and PCI Lecture on ‘The Return of Marxism in Queer Theory: Queer of Color Perspectives’</a><br />Utrecht University<br />May 18, 2017 </strong></div>
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<strong>Roderick A. Ferguson (University of Illinois at Chicago, USA): ‘Queer of Color Critique and the Engagement with Western Marxism’</strong></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-BIqPPZrKncdDoX1-gj_0sOP0umBEgdj98ZNmr9I0Qn2GS_zgCnX2zxVolDv9LMJWi8oaeiryDf1LANdejU2NMU4QYDVR0kh53o_J72MzihsNwMgfWq3BumaNICvZu34S__7u8FwSlWcz/s1600/Ferguson-1.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-BIqPPZrKncdDoX1-gj_0sOP0umBEgdj98ZNmr9I0Qn2GS_zgCnX2zxVolDv9LMJWi8oaeiryDf1LANdejU2NMU4QYDVR0kh53o_J72MzihsNwMgfWq3BumaNICvZu34S__7u8FwSlWcz/s1600/Ferguson-1.png" /></a>This presentation will address the effort to fashion queer of color critique as a different version of historical materialism. In this sense, queer of color critique both located itself within historical materialism and attempted to reshape historical materialism, making what Althusser described as “the science of social formation” into an intersectional analysis of race, gender, sexuality, and political economy. As such, queer of color critique would be presented as both an engagement with and an eschewal of Western Marxism. The talk will attempt to demonstrate this intent by revisiting <em>Aberrations in Black</em> and publications by other authors and critics who have helped to produce a materialist shift in the field of queer studies.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigicTPFoKQZOv40pDJfpjlOGHky1PqSyfuaaFQZeIMt5DVhqhooXuH_0XJpSJeRByw-0vz7W1XuAMrbRoW_iwzEy7Xu1eBXbznGSrs0mr9T1lVurybDbiyfXLPMe3B50CjVJOVJyCwSq6X/s1600/Rao.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigicTPFoKQZOv40pDJfpjlOGHky1PqSyfuaaFQZeIMt5DVhqhooXuH_0XJpSJeRByw-0vz7W1XuAMrbRoW_iwzEy7Xu1eBXbznGSrs0mr9T1lVurybDbiyfXLPMe3B50CjVJOVJyCwSq6X/s1600/Rao.jpg" /></a><strong>Rahul Rao (SOAS University London, UK): ‘Queer in the Time of Homocapitalism’</strong><br />In recent years, leading institutions of global capitalism have begun to take activist stances against homophobia. For example, in response to Uganda’s passage of an Anti Homosexuality Act, the World Bank withheld a $90 million loan that was due to have been disbursed to the country. Like a number of multinational corporations, the Bank has also become invested in quantifying the “economic cost” of homophobia so as to make a “business case” for LGBT rights. Why have these institutions begun to inveigh against homophobia and why have they done so now? What are the terms on which the figure of the queer has come to be embraced as an object of concern by the global development industry and as a potential “stakeholder” by the business world? What understandings of “homophobia” underpin the putative “business case” against it? In addressing these questions, I shall attempt to offer a political economy of “homophobia” as it expresses itself in contemporary Uganda; in doing so, I hope to make visible the implication of the Bank in the production of the very affects that it now purports to oppose.</div>
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<br /><strong>Practical information:</strong></div>
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<strong>Date</strong>: May 18, 2017</div>
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<strong style="text-align: left;">Time: </strong><span style="text-align: left;">11.00 – 12.30 hrs</span></div>
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<strong style="text-align: left;">Location: </strong><span style="text-align: left;">Drift 25, room 1.02</span></div>
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<strong style="text-align: left;">Chair: </strong><span style="text-align: left;">Rosemarie Buikema & Gianmaria Colpani</span></div>
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<strong>Registration</strong> <a href="mailto:nog@uu.nl" style="color: crimson; text-size-adjust: 100%;">via email</a> is compulsory.<br /><br />More information <a href="http://www.graduategenderstudies.nl/doing-gender-lecture-by-prof-roderick-a-ferguson-and-dr-rahul-rao/" style="color: crimson; text-size-adjust: 100%;" target="_blank">here</a>.</div>
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The Postcolonial Studies Initiativehttp://www.blogger.com/profile/02395871247874437619noreply@blogger.com