TODAY@6pm in DH: Kehlmann & Soboczynski in conversation – “What Is a Feuilleton?”

“What Is a Feuilleton?” An Evening with Daniel Kehlmann and Adam Soboczynski

Tuesday, December 6, 6:00 p.m.

Deutsches Haus at NYU

Deutsches Haus at NYU and the Department of German at NYU present a conversation between Daniel Kehlmann and Adam Soboczynski on “What Is a Feuilleton?” 

Daniel Kehlmann is the Eberhard Berent Goethe Chair at NYU’s Department of German. Kehlmann has been honored with numerous awards, including the Candide-Preis (2005), Kleist-Preis (2006), Heimito von Doderer-Preis (2006), WELT-Literaturpreis (2007), Per-Olov-Enquis-Preis (2008), Thomas-Mann-Preis (2008), Prix Cévennes du roman européen (2010), and most recently the Nestroy-Theaterpreis (2012). His publications include the novels Du hättest gehen sollen (2016), F (2013), Ruhm (2009), Die Vermessung der Welt(2005), and Ich und Kaminski (2003) and the books of essays Kommt, Geister(2014), Lob (2010), and Wo ist Carlos Montufar? (2005). Daniel Kehlmann lives in New York and Berlin.

Adam Soboczynski is the head of the culture and feature section (Feuilleton) at DIE ZEIT. Soboczynski has been honored with numerous awards, including the Axel-Springer-Preis (2005), Deutsch-Polnischer Journalistenpreis (2005), and Förderpreis zum Ernst-Robert-Curtius-Preis (2013). His publications include books on Heinrich von Kleist and literary works: Fabelhafte Eigenschaften (2015), Glänzende Zeiten (2010), Die schonende Abwehr verliebter Frauen (2008), and Polski Tango. Eine Reise durch Deutschland und Polen (2006). Adam Soboczynski lives in Berlin and Hamburg.

Events at Deutsches Haus are free of charge. If you would like to attend this event, please send an email to[at] Space at Deutsches Haus is limited; please arrive ten minutes prior to the event. Thank you!

What is a Feuilleton? is a DAAD-sponsored event.

Wednesday 14 December: Opening of Image As Virus: Better Badges In The Punk Era

WHEN: 14 December 2016 – 5 January 2017
WHERE: 80 Washington Square East Gallery Project Space [at West 4th Street]
Opening Party: Wednesday 14 December 2016, 5pm onwards 
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“My heart’s my badge….”
IMAGE AS VIRUS: BETTER BADGES IN THE PUNK ERA is the first-ever exhibition devoted to punk badges. It focusses on Better Badges, a small but culturally crucial company formed by Joly MacFie (b.1950) in West London, that created the very first punk badge in 1976 and went on to produce an estimated 40 million pins over the next six years. The show will include original badges designed by artists such as Jamie Reid, Peter Fischli and Linder Sterling and rarely-seen original merchandise by key bands such as Subway Sect, The Modern Lovers, The Clash, Ramones, Crass, Suicide, Joy Division, DAF, The Raincoats and The Sex Pistols.
Better Badges – its founding principle ‘Image As Virus, Elitism For All’ – was set up by MacFie, a former member of Hawkwind, roadie for The Pink Fairies and Stars (the Syd Barrett/ Twink supergroup), and fellow traveller of England’s counterculture and free festival movements. Inspired by punk’s world-turned-upside-down ethos, and keen to make fans as important as performers, his revolutionary company quickly succeeded in making badges – alongside the Xerox, the dual-cassette tape recorder, and pirate radio – vital elements of late 1970s DIY culture.
Fans of tiny bands excluded from mainstream media could now turn themselves into cultural transmitters, broadcasting their latest obsessions to friends and passers-by alike. Their badges were markers of personal identity, of rebellion, of passion as fashion. They were striking, topical, often witty. MacFie created some, while others were designed by the bands and even the fans. Punk bible the New Musical Express published a chart of the week’s bestselling pins. Better Badges employees included a young Neneh Cherry.
IMAGE AS VIRUS: BETTER BADGES IN THE PUNK ERA is drawn from the personal, 10,000+ badge collection of Kevin Pedersen, head of the Brooklyn-based What’s Your Rupture record label and initiator of the Punk Badges Instagram site. The presentation at 8 Washington Square East Gallery’s Project Space has been developed by Pedersen and Sukhdev Sandhu (Colloquium for Unpopular Culture) with the assistance of Nicola Lees and Hugh O’Rourke at 80WSE Gallery.

Call for Papers: UMass Interdisciplinary Conference !

Splintered Boundaries: Encounters/Challenges/Disruption

April 8, 2017
University of Massachusetts, Amherst
Submission Deadline: January 27, 2017
Keynote Speaker: Jennifer Wingard (University of Houston)
Discussions about figurative and literal boundaries are ubiquitous. Transnational scholars are faced with a globalizing world, and seek to navigate the ways in which boundaries are (de)constructed in these spaces. Humanities scholars and students alike are faced with disciplinary or genre boundaries that are both maintained and simultaneously resisted. In the 21st century, new meanings, new technology, and new global crises force us to confront these boundaries that are meant to divide, classify, define. In facing them, we have the choice to maintain and uphold, or splinter, challenge, disrupt. Rupturing these boundaries doesn’t make them invisible, but rather gives rise to new forms of discourse.
For the 9th annual interdisciplinary conference, the English Graduate Organization at the University of Massachusetts Amherst invites submissions that question differing notions of boundaries, and explore the ways in which boundaries can be splintered, ruptured, resisted, or maintained. They are particularly interested in the thinking of boundaries as both physical and geographical borders, as well as the abstract boundaries that envelop scholarly and creative work. How do we encounter these boundaries, and when we do, how might we challenge or disrupt the structures they seek to maintain? Further, are there boundaries that should be maintained, and how do we parse these from those we seek to splinter?
In relation to these themes, some of the questions the English Graduate Organization  are looking to explore include:
  • What are boundaries and who defines them? Who can and cannot define boundaries?
  • What does it mean to splinter a boundary, disrupting expectations and traditions?
  • Where do boundaries exist? [i.e.: canon, genre, geography, historical, borders, intersectionality, disciplines, academy, etc.]
  • How do national boundaries affect literary production?
  • How do boundaries (de)construct racial, gendered, class, national and sexual identities?
  • How do disciplinary boundaries impact (limit or control) the work of humanities scholars?
  • How do periodization and temporal boundaries constrain literary and cultural studies?
  • How have digital spaces changed the way we theorize/define boundaries?
    • How do digital spaces trouble the conception of boundaries?
    • Do boundaries exist in digital spaces?
  • How are boundaries products of structures of power? How are boundaries resisted?
    • How do systems of power work for and against boundaries?
Graduate students may submit papers and/or panel presentations, performance and creative pieces, and multi-media projects. Approaches include but are not limited to:
  • Affect Studies
  • American Studies
  • Animal Studies
  • Art History
  • Childhood Studies
  • Communications
  • Critical Race Theory
  • Creative Writing
  • Cultural Studies
  • Digital Humanities
  • Disability Studies
  • Environmental Studies/Ecocriticism
  • Film Studies and Film Theory
  • Gender and Sexuality Studies, Queer Theory
  • Genre Studies
  • History/ Historiography
  • Linguistics
  • Literary Theory
  • Media Studies
  • Music Studies
  • Narrative Theory
  • Political Theory
  • Postcolonial, Global, Transnational Studies
  • Psychology and Cognition Studies
  • Religious Studies
  • Rhetoric and Composition
  • Sociology
  • Science, Technology, and Culture
  • Theatre and Performance Studies
Three kinds of submissions are accepted:
  • Individual papers/projects: please submit an abstract of no more than 300 words. Include your name, paper title, institution, and email address.
  • Panels: please submit a 1000 word proposal for an entire panel of presentations (3-4 presenters). Included in this proposal should be abstracts of 200-300 words for all presentations, title of the panel, and information for each presenter (name, paper title, institution, and email address). If you are forming your own panel, you have the option of providing your own chair.
  • Performances and creative presentations/panels: The English Graduate Organization welcome submissions of creative works, including creative writing, visual art, and dramatic performance. Please include a brief description of your project, as well as your name, project title, institution, and email address.


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Come Join ! Monday December 5th- very rare screening of BIM (dir. Hugh A. Robertson, 1974) – presented by Ian Harnarine and Joshua Jelly-Schapiro !

BIM (dir. Hugh A. Robertson, 1974), 104 min – presented by Ian Harnarine and Joshua Jelly-Schapiro
WHEN:Monday 5 December 2016, 6:45pm
WHERE: 721 Broadway, Room 674 [at Waverly Place]
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Those in the know may know about Bim, but very few of them have seen Bim. Imagine that The Godfather hooked up with The Harder They Come in early-1970s Trinidad. The bastard child would be Bim – the film that Hugh Robertson (who edited Midnight Cowboy) made on this island in the southern Caribbean in 1974. Working in a country with little support for filmmakers, Robertson created a fierce piece of cinema whose style evokes the American New Wave, but whose rhythms and whose story – Bim charts the rise and fall of an Indo-Trinidadian man who gets into a life of crime, only to end up in politics and as part of his island’s movement for Independence – are 100% Trini.
There are said to be only two prints of the film surviving. And a few scratchy DVD copies made from film-to-VHS dirty-transfers. Yet what still remains is a landmark of Caribbean film: a raw vision off Trinidad’s Indo-Caribbean culture that doubles as a vital portrait of how conflicts over identity – in a New World nation that V.S. Naipaul infamously dubbed “a half-made society” – play out on the ground.
IAN HARNARINE teaches at NYU’s Graduate Film School and the Department of Physics. His film Doubles With Slight Pepper, Executive Produced by Spike Lee, won the Toronto International Film Festival and the Canadian Academy Award.
JOSHUA JELLY-SCHAPIRO is the author of Island People: The Caribbean and the World, and the co-editor, with Rebecca Solnit, of Nonstop Metropolis. He is a Visiting Scholar at NYU’s Institute for Public Knowledge.