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Network Summer 2013

Network Summer 2013 will be held from June 10 to June 14, 2013 at New York University's Washington Square campus.

To learn more about the Summer 2013 Scholar-in-Residence program, please click here.

The following seminars will be offered for Network Summer 2013:

After Truth: Human Rights and Wrongs in Latin America
Contemporary Black Women Writers: Race, Gender and Power in the Literary and Political Imagination
Cosmopolitanism and Pop Culture
Evidence-Based Biology Teaching: Just the Facts or Thinking Like Scientists?
Narrative Filmmaking as a Teaching Strategy
Network Science - application deadline extended to March 1
Play, Games and Education in the Digital Age
Postcolonial Reception of Classical Literature and Myth
Reframing Gender: Men, Women and the State - application deadline extended to March 1
Understanding the New Europe: Immigration
SPECIAL PROGRAM: Leadership in Fundraising Institute - application deadline March 8, 2013


Co-sponsored by the Center for Latin American and Caribbean Studies at New York University

The Program

A generation ago, Latin America’s first Truth and Reconciliation Commissions (TRCs) were formed as part of post-conflict transitions from dictatorship to democracy. Decades of sustained activism, critical reflection, and artistic intervention around the politics of memory followed. This seminar will examine the present status of the “truth” sought and produced through such projects. We will focus on the examples of Chile, Argentina, and Peru in our attempts to understand the dynamics of ongoing truth production and erosion in the public sphere.

Scholar Allen Feldman proposes the term “traumatrope” to name the formations of memory that follow historical conflict, borrowing the term from botany, where “traumatropism” refers to the reactive curvature of plants that follows a prior wound. In this seminar, we will query what the unfolding traumatropes of post-conflict societies, asking about the changing shape and status of “truth” in the neoliberal aftermaths of transitional justice projects. What alternatives or new strategies of truth production and truth telling have these transitional justice projects set in motion? How has the “curvature” of memory changed as activist demands have been partially incorporated into regimes of neoliberal governance—often through TRCs themselves? In answer to these questions, we will explore different forms of truth production in and beyond TRCs: testimony, documentary photography and film, performance, memorials, and “sites of conscience.”

Readings will be drawn from the following texts: When States Kill: Latin America, the U.S. and Technologies of Terror edited by Cecilia Menjívar and Néstor Rodríguez; Empire’s Workshop. Latin America, the United States, and the Rise of the New Imperialism by Greg Grandin; A Lexicon of Terror. Argentina and the Legacies of Torture by Marguerite Feitlowitz; Regarding the Pain of Others by Susan Sontag; and Truth commissions: state terror, history, and memory edited by Greg Grandin. In addition, we will explore sites and projects such as: documentary filmmaker Patricio Guzman’s Batalla de Chile and Memoria Obstinada; the Peruvian Truth Commission’s photography exhibition Yuyanapaq: para recorder; the Peruvian Forensic Anthropology Group’s exhumations of mass graves; the establishment of former torture center ESMA as a museum of memory in Buenos Aires, among others.


Jill Lane is director of the Center for Latin American and Caribbean Studies and associate professor of Spanish and Portuguese at New York University. She is editor with Marcial Godoy-Anativia of e-misférica, the journal of the Hemispheric Institute of Performance and Politics; in 2010 they edited a special issue, “After Truth,” that explored some of the issues described above. She has written about the aftermaths of the Peruvian civil conflict as mediated by theatre and photography connected to the TRC. She works on performance and politics in colonial and neocolonial contexts in Latin America, and is author of Blackface Cuba, 1840–1895.

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The Program

A significant development in the evolution of Black Women’s Studies was the emergence of feminist literary criticism. Black women writers had been excluded from both African American and feminist literary canons, despite Black women critics having made visible a rich tradition of Black women writing going back to the nineteenth century. These literary scholars disrupted a largely male narrative in the construction of an African American literary tradition. Nineteen-seventy was a significant year for the emerging concepts of race/gender/class and intersectional approaches to the study of women. Among the significant publications were Alice Walker’s The Third Life of Grange Copeland, Maya Angelou’s I Know Why the Caged Bird Sings, Toni Morrison’s The Bluest Eye, Audre Lorde’s Cables to Rage, and Toni Cade Bambara’s The Black Woman, a pioneering collection of critical and creative writings by and about African-American women.

Using interdisciplinary theoretical frameworks, this seminar explores selected writings by contemporary African-American women who have published novels, essays, autobiographies, and poetry which illuminate complex aspects of U.S. and global cultures around issues of race, gender, and power. Organized thematically, the seminar will focus on the ways in which writers such as Toni Morrison, Alice Walker, Audre Lorde, June Jordan, Angela Davis, and emerging writers such as Isabel Wilkerson and Tayari Jones have responded to issues of race, the legacies of slavery, power imbalances, and geopolitics. Texts to be studied will include Paradise; Civil Wars; Zami; Overcoming Speechlessness: A Poet Encounters the Horror in Rwanda, Eastern Congo and Palestine/Israel; The Warmth of Other Suns; and Silver Sparrow. Selected poetry from these authors will also be included. In addition to print sources, films will be included that illuminate the themes of the seminar. The seminar will provide participants with strategies for bringing these texts into their own classrooms and helping students connect with the issues they raise.


Beverly Guy-Sheftall is founding director of the Women’s Research & Resource Center and Anna Julia Cooper Professor of Women’s Studies at Spelman College. She is past president of the National Women’s Studies Association (NWSA). Along with her co-editors, she published the first anthology of Black women’s literature, Sturdy Black Bridges: Visions of Black Women in Literature (Doubleday, 1979). Her recent books include Gender Talk: The Struggle for Women’s Equality in African American Communities (with Johnnetta Betsch Cole) and Still Brave: The Evolution of Black Women’s Studies (with Stanlie M. James and Frances Smith Foster).

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The Program

Many of us believe that it has become more important than ever to "think globally," and we believe that it is important to bring issues that inform and impact the rest of the world, beyond just America, into the classroom. But how exactly does one do that on a practical level and what kinds of specific teaching tools does one need to make that practice a living reality?

Cosmopolitanism has been described as the willingness to competently engage in a range of different cultures. Popular culture—culture that appeals to or reaches a mass audience—can help connect people of divergent nationalities, experiences and identities, thereby facilitating cosmopolitan ideals. Intrepid artists who move and think beyond cultural boundaries, fusing genres, styles and traditions along the way, have created some of the most influential expressive culture of our time.

In this seminar, we look at the relationship between cosmopolitanism and contemporary popular culture, and we consider ways of bringing both late 20th and 21st century cultural studies and cutting-edge studies in cosmopolitanism into the classroom in new and exciting ways. The idea is to provide faculty with a framework to present the challenges and debates about the changing role of the popular, mainstream artist as world citizen in various realms—music, film, theater, photography, video/visual art, architecture, graphic design, food, and fashion.

To that end we will read seminal works on cosmopolitanism and on popular culture by authors like Ulf Hannerz, K. Anthony Appiah, Henry Jenkins and Paul Gilroy. We’ll grapple with the sometimes challenging terminology scholars have deployed to address issues related to globalization and diaspora. We’ll analyze work created by artists with cosmopolitan backgrounds and influences, as well as works of popular culture shows that deal with cosmopolitan identity (multi-racial and hybrid bodies, the ‘problem’ of passing, ethnic and racial exoticism).

There is a diverse range of artists whose work we may consider, including: musicians Paul Robeson, Paul Simon, David Byrne, Fela Kuti, Freddie Mercury, Grace Jones, Youssou N'Dour, Shakira, Manu Chao and M.I.A.; filmmakers Quentin Tarantino and Jim Jarmusch; film actors such as Bruce Lee, Keanu Reeves, and Sacha Baron Cohen; architect Rem Koolhaas; Ethiopian-Swedish top chef Marcus Samuelsson; and Japanese fashion designers Yohji Yamamoto and Nigo. We will look at cosmopolitan experiences of cities and cosmopolitan objects in transit, and how we might make sense of mobile and mashed-up pop culture products, often stripped away from their original contexts. That might include thinking about: hip-hop as global culture; the unusual travels of the infamous Che Guevara photograph; the role of reggae and dancehall in Japan; and the transformative role of reality television in the Arab world.

By the end of the seminar, attendees will acquire a greater understanding of the role the arts play in helping to shape the contemporary global world order; and, conversely, the impact of the current geopolitical climate, particularly after the events of 9/11, on the creation and distribution of global popular culture, and best practices for bringing these sorts of conversations into the classroom.


Jason King is the artistic director of The Clive Davis Department of Recorded Music, an innovative leadership institute for aspiring young music entrepreneurs at Tisch School of the Arts, New York University. An associate professor and the founding faculty member of the program, he has been teaching classes on the music business, music technology, and pop music history for the last ten years. In addition to bringing numerous artists to NYU and producing live events and festivals, King has been a longtime music critic for magazines including Vibe and newspapers such as the Los Angeles Times. His pioneering approach to teaching hip hop in the classroom has been profiled on MTV, BET, and AOL, and he has been invited to give lectures on popular music at universities including Harvard, Princeton, Stanford, Yale, Columbia, and MIT. King is the author of The Michael Jackson Treasures, a 2009 Barnes and Noble exclusive biography on the King of Pop, which has been translated into more than seven languages, and Blue Magic(forthcoming from Duke University Press),which discusses the role of energy in the music of artists like Jay Z. He has also published numerous essays on pop culture. King has also served as a record producer and business manager for both major label and independent artists. He consults for record labels and music tech start-ups, and has excelled as a marketing and branding consultant and a live music supervisor. As well as having taught Cosmopolitanism and Popular Culture at NYU Abu Dhabi, he gives a graduate master class, Producing and Selling Music in the Global Marketplace, for the new MFA program in International Media Producing at Tisch School of the Arts Asia in Singapore.

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The Program

Science in the 21st century is driven by cross-cutting questions that involve many disciplines. Yet undergraduate introductory biology courses are widely criticized for overemphasizing details and rote memorization at the expense of helping students develop higher-level cognitive skills. We are participating in a revolution to address this problem by creating courses and curricula designed to help students develop the skills and build conceptual connections within biology and across the curriculum. We invite you to learn more about developing and implementing learner-centered instructional materials, teaching strategies, and assessments in both small and large enrollment courses. This seminar will use the approach of scientific teaching to actively engage participants in using instructional methods shown to be effective in helping students learn better than in traditional lectures. By integrating research models into teaching approaches, faculty will be able to bring into their classrooms the core competencies and disciplinary practices desired for all students, such as applying the process of science, using models, reasoning analytically, developing arguments, and communicating across disciplines. Faculty will gain experience in developing materials, instructional methods, and assessments directed at improving and assessing students’ understanding across disciplines. Specifically, participants will:

  • Use backward design to construct a course in which objectives, assessments, and instruction are aligned and that promote learner-centered instruction at each class meeting;
  • Create learning goals and assessments that enable students to demonstrate higher-level cognitive skills;
  • Practice how to actively engage students in collaborative work and inquiry-based activities in all types of learning environments; and
  • Create, analyze and use assessment data to improve instruction.

This seminar is suitable for all faculty members who wish to reform biology courses at the introductory levels, including principles of biology, cell and molecular biology, organismal and population biology, ecology, evolution, and genetics.


Diane Ebert-May provides international leadership for discipline-based biology education research that integrates life sciences and cognitive science. She promotes professional development, assessment and improvement of faculty, postdoctoral scholars, and graduate students who actively participate in creative research about teaching and learning in the context of their scientific discipline. Ebert-May’s research group developed and tested a model for professional development workshops based on learner-centered teaching. They continue to investigate the impact of undergraduates’ design and use of models to build conceptual connections across scales in biology and are following students’ progress through a sequence of the major’s biology curriculum. Ebert-May leads FIRST IV, an NSF-funded professional development program to help postdoctoral scholars create and teach their first introductory biology course in preparation for their future academic positions. Her book, Pathways to Scientific Teaching (Ebert-May and Hodder eds), is based on active learning, inquiry-based instructional strategies, assessment and research. She teaches plant biology, introductory biology to majors in a large enrollment course, and a graduate/postdoctoral seminar on scientific teaching. Ebert-May is a Fellow of the American Association for the Advance of Science, was awarded the Carnegie Foundation & CASE–US Professor of the Year, MI 2011, and received the AIBS Education Award in 2012. Her plant ecology research continues on Niwot Ridge, Colorado, where she has conducted long-term ecological research on alpine tundra plant communities since 1971. She holds a Ph.D. from the University of Colorado in ecology and evolutionary biology.

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The Program

We all know when writing an essay (or when teaching how to write an essay) that it is important to prove the thesis with supporting evidence. Many students struggle with this concept and some will apply it only half-heartedly. Certainly few actually enjoy the process. But what happens when faculty members ask their students to apply the same technique in making a narrative film in order to understand and practice the concept? Using filmmaking techniques in a classroom can show the students how much power they really have as writers.

If you asked the students in your class if they would prefer to write a five paragraph essay or make a film, most would choose making the film. This seminar is designed to introduce participants to the technique of proving a thesis through filmmaking. Participants in this workshop will work in groups of four to write, plan and produce a short digital video. The focus will be on choosing a meaningful theme, applying narrative structure to organize ideas and using supporting evidence to prove the thesis by writing and directing with purpose.

Similar to a successful essay, the theme of a film should be planned in advance (use research), should be well organized (start with an outline) be supported with visual evidence (make an argument), then edited and re-edited (more than one draft) and, finally, convince an audience (prove its point). Filmmaking is not only a more fun and interesting way to teach students how to use their critical thinking skills, but it engages their artistic side by using visual storytelling to fortify their writing technique.

Using visual storytelling in the classroom, whether fiction or nonfiction, in a humanities science or history curriculum, helps students connect to an effectiveness of creative and critical thinking that is important to their academic and professional careers. The depth of understanding that is achieved when using images to tell a story, or explain an idea, or describe a thought, helps students gain confidence in their creative thinking process, leading them to have more trust in their own critical thinking skills.

The workshop will begin by focusing on viewing and discussing examples of visual storytelling, themes and supporting evidence through short films and feature film clips. Participants will then workshop the practical and aesthetic elements of visual storytelling and relevant filmmaking techniques by using digital video cameras and computer editing. From creative story idea development to thematic intent and the practical steps of filmmaking, all elements will be presented as workshop exercises in order to develop or enhance the participants’ curriculum.


Rosanne Limoncelli is the director of production for film and new media at New York University’s Tisch School of the Arts. She received her B.F.A. from the Department of Film & Television and her Ph.D. in teaching reading, writing, and media from NYU’s Steinhardt School of Culture, Education, and Human Development. Dr. Limoncelli has been teaching writing and filmmaking to students and professors since 1989, and has served as a consultant in the area of teacher education to high schools, colleges and universities.

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The Program

Networks have become ubiquitous as a tool for modeling vast ranges of both scientific and social scientific phenomena. Current examples in biology include genetics and neuroscience, both areas in which the amounts of data to be organized and interpreted have recently grown by orders of magnitude and in which network models are increasingly used to extract usable and meaningful conclusions from these vast arrays of data. In a very different direction, network models and their mathematical properties have been particularly important in investigating the Internet for purposes as varied as developing search capabilities to tracing modes of electoral influence. Network models are being employed in social psychology and sociology to explore the development of patterns of cooperation among individuals and units.

From a mathematical perspective many instances and applications of networks share similar mathematical formulations and properties and raise similar mathematical questions for new research studies. Such common threads make it useful to introduce and study network science and its mathematical formulation through what mathematicians classically termed "Graph Theory." This seminar will introduce faculty participants from a range of relevant academic disciplines to this mathematical study of networks. Some of the distinguished presenters will be experts on the mathematics of networks; others will be experts on and present examples of some of the varied applications of networks to problems in genetics, neuroscience, chemistry, computer science and social science.


Sylvain Cappell is Silver Professor at NYU and professor of mathematics in NYU's Courant Institute of Mathematical Sciences. He is vice president and a fellow of the American Mathematical Society. He is an editor of the Communications in Pure and Applied Mathematics. He has given invited addresses at the Joint National Meeting of the American Mathematical Society, the Mathematical Association of America, and the International Congress of Mathematicians. His research publications cover a broad range of research topics in geometrical topology in both high and low dimensions, symplectic geometry, differential geometry, algebraic geometry, graph theory, geometrical combinatorics and other fields. At NYU, Professor Cappell served several terms as chair of the Faculty Senate. He currently serves on advisory and external review boards for many institutions in the U.S. and abroad, including CalTech and the Rothschild Foundation. He has served on many national committees related to education, including currently the Advisory Council of the Mathematics Museum which is opening in New York.

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The Program

The rise in popularity of digital video games has lead to an increased interest in their use for education. Examples include organized efforts to adapt commercial video game titles for education, such as Valve’s Teaching with Portals, the educator initiated World of Warcraft in Schools wiki, and the frequent use of Second Life in schools. National, state and local departments of education have also supported the educational use of games through initiatives such as the National STEM Video Game Challenge, a White House sponsored competition for students to develop games that motivate interest and learning in science, technology, engineering, and math (STEM), and Quest to Learn, a New York City public school dedicated to the use of the “principles of games to create academically challenging, immersive, game-like learning experiences for students."

In spite of the recent enthusiasm for the use of games in education, this is not a new idea. Early educational theorists, such as John Dewey, G. Stanley Hall, Jean Piaget and Jerome Bruner, wrote about the import role of play and games in education. Digital games, however, have many features that are appealing to educators, including the ability to adapt them to individual learners and provide instant, relevant feedback.

Faculty members participating in the seminar will be provided with an overview of foundational and contemporary theories about the role of play and games in learning and education. Some of the most promising current efforts to use games for learning will be reviewed, as will the evidence of what works (and doesn’t work) for different learners. Finally, we will discuss strategies for developing and implementing games for teaching and learning.

The seminar will be interactive, combining readings, discussion, and hands-on opportunities to explore and design games and related technologies for education. Guest speakers will present on topics relevant to these themes, and discuss their own experiences with the use of games for teaching and learning. By the end of the seminar, faculty members will have an understanding of the theory and research behind the use of play and games for learning, understand key concepts relevant to the use of games for learning, know several of the primary examples of the use of games for teaching and learning, and finally, understand the procedures for the development and implementation of games for teaching and learning.

The seminar is designed for faculty participants who have basic computer skills (e.g., an ability to use e-mail, Microsoft Word, Google, etc.). Familiarity with video games is not required.


Bruce D. Homer is an associate professor of educational psychology at the CUNY Graduate Center, where he is director of the Child Interactive Learning and Development (CHILD) Lab. Dr. Homer is director of research at the Consortium for Research and Evaluation of Advanced Technologies in Education at NYU (, and a primary investigator at the Games for Learning Institute ( His research examines how children acquire and use “cultural tools” to store and transmit knowledge (e.g., language, literacy, and information technologies), and how these tools transform developmental and learning. His recent work has focused on the use of simulations and games for learning (see

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Co-sponsored by the Center for Ancient Studies at New York University

The Program

This seminar will explore outstanding examples of the postcolonial reception of canonic texts from the Greek and Roman literary tradition (e.g. Homeric epic, Greek tragedy) as reflected in the works of major 20th century artists, primarily of African descent, from the Caribbean, North America, and West Africa. Our focus will be on representative works in various creative media: verbal art, including poetry and drama; painting; and film.

In the domain of poetry we will discuss two highly acclaimed lyric masterpieces: Omeros by the St. Lucian Nobel laureate, Derek Walcott, and Journal of a Homecoming (Cahier d’un retour au pays natal) by the late Martinican poet and statesman, Aimé Césaire (a co-founder of the Negritude movement.) Both of these contemporary (and already “classic”) poetic texts from the anglophone and francophone Caribbean remodel the narrative of the hero’s “homecoming” (nostos) as enshrined in Homer’s Odyssey in order to illuminate the cultural predicament of the black colonial subject in the historical context of the “New World.” In the medium of drama our representative work will be a play by the Nobel laureate Nigerian writer, Wole Soyinka, which takes its title and underlying plot from a famous tragedy by Euripides (The Bacchants), which it recasts in terms of traditional West African ecstatic cults that share basic characteristics (such as ritual possession) with the ancient Greek worship of the god Dionysus.

In the sphere of visual art we will analyze the “Odyssey series” of collages and watercolors created by the great African-American artist, Romare Bearden, which ingeniously re-imagine episodes from the wanderings of the Trojan war hero, Odysseus. Bearden casts an intriguing new light on these episodes by portraying major figures, such as the god Poseidon and the sorcerer Circe, with black pigment, thereby stressing the cross-cultural universality of the experiences depicted in the epic narrative. In regard to the art of the moving image, we will study and discuss the adaptation of the Orpheus myth in the masterwork, Black Orpheus, of the French “New Wave” film-maker, Marcel Camus, in which he transposes the story of the hero’s descent into the underworld to bring back his lover from the world of the dead into the cultural setting of a contemporary Brazilian carnival and the afro-Brazilian cult of cadomblé.

The major goal of the seminar will be to gain a deeper understanding of the postcolonial artists’ revitalization and reframing of ancient Greek and Roman mythical archetypes in ways that reflect the historical experience of colonial subjects of European imperialism in the “Old” and “New” Worlds.


Gregson Davis is a professor of classics and comparative Literature at New York University. He has also taught at Stanford University, Cornell University, and, most recently, Duke University, where he was Andrew W. Mellon Distinguished Professor in the Humanities. His primary research specialty is in the interpretation of poetic texts in the Greco-Roman as well as Caribbean (francophone and anglophone) traditions. In the domain of Late Republican and Augustan poetry, he has published monographs on Horace's Odes (Polyhymnia: The Rhetoric of Horatian Lyric Discourse) and Ovid's Metamorphoses (The Death of Procris: "Amor" and the Hunt in Ovid's Metamorphoses). His most recent book on Augustan poetry is Parthenope: The Interplay of Ideas in Vergilan Bucolic (Brill, 2012). His abiding interest in contemporary Caribbean poetry is represented by two books on the late Martinican poet, Aimé Césaire, as well as several articles on the St. Lucian poet, Derek Walcott.

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The Program

The premise of this course is that to study gender is to study the state, and vice versa. Citizenship itself is always a gendered in legal institutions and nationalist narratives. As Jacqueline Stevens has written in the context of the U.S., “it is not procreation per se that reproduces a political society as such, but the rules specific to the kinship form that makes possible a group's particularity.” The transfer of citizenship between blood relatives, spouses, and offspring—the most common route to citizenship in western democracies—is one such mechanism for the reproduction of political societies through the regulation of kinship. Given the fact that gender plays such a formative role in the production of political subjects (citizens), its pedagogic and analytic importance to a wide variety of topics and disciplines cannot be overstated..

In this seminar the Middle East will be the region through which we study gender. Middle Eastern states are not particular in the prominent role that kinship and gender play in the production of citizens. However, the presence of gender bifurcated personal status systems in all of these states (including Israel) makes this phenomenon more visible. Because the (ongoing) Arab uprisings of 2011 have shown that a reinvigorated focus on citizenship studies would greatly contribute to the study of the Middle East, the danger of studying citizenship as if it were universal and gender neutral is amplified.

Women's rights and the regulation of gender and sex norms in the Middle East have long been put under the spotlight by local and international activists, academics, local and international politicians, and nongovernmental organizations (NGOs). For decades, we have been told that there is a “gender problem” in the Middle East, that is Islam is inherently oppressive towards women, and that everything that happens in the Middle East can be attributed to an immutable and radically different “culture.” Most importantly for this course, there has been a tendency to use the word “gender” as a synonym for women and/or sexual and gender minorities. These themes, or frames for understanding gender in the Middle East, are not limited to political or activist realms; rather, they are reproduced in journalism, cultural media, and, inevitably, education. As educators and scholars, we have a responsibility to critically approach these norms—to rethink and reframe our understandings of gender beyond these simplistic tropes.

Participants in this seminar will study gender in the Middle East, paying particular attention to differences between male, female, and other gendered peoples in the different states of the region. We will bring our growing knowledge into conversation with U.S. based mainstream accounts of gender in the Middle East in order to understand how these accounts emerge from particular readings of the region and its culture(s), religion(s) and politics more generally. We will study scholarly, journalistic, and visual texts in order to arrive at a deeper and more critical understanding of the ways that gender can and does operate as an analytic tool to approaching the Middle East and beyond. Readings will include scholars such as Lila Abu-Lughod, Sylvia Walby, Paul Amar, and Joan Scott.


Maya Mikdashi is director of graduate studies and a faculty fellow/assistant professor at the NYU Kevorkian Center for Near Eastern Studies. Her research interests include law and citizenship, secularism and religion, the relationship between the state, and nationalism and gender, and practices of citizenship and subjectivity. She has worked on a number of documentary film projects, including co-directing the documentary film About Baghdad, directing and editing Notes on the War, and she is also assistant director of the multidisciplinary research project Arabs and Terrorism. Mikdashi is a researcher for the Arab Studies Institute, which produces the Arab Studies Journal and the Jadaliyya e-zine (of which she also is a founding editor). She will soon launch a "Sex and the Citizen" section on Jadaliyya.

Michael Gilsenan is the Director of NYU’s Hagop Kevorkian Center for Near Eastern Studies, as well as the David B. Kriser Professor Anthropology. He completed his Doctor of Philosophy at Oxford University. Professor Gilsenan’s research interests include the anthropology of Islam, narrative theory, the anthropology of power and violence, urban studies and cultural representation. Throughout his career, Professor Gilsenan has conducted research in Indonesia, Singapore, the Netherlands, the United Kingdom, Egypt, Lebanon, the United States and Malaysia. Among his publications are Lords of the Lebanese Marches: Violence and Narrative in Lebanese Society, Recognizing Islam: An Anthropologist’s Introduction, and Saint and Sufi in Modern Egypt: an Essay in the Sociology of Religion.

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The Program

In this interactive interdisciplinary seminar, we will explore one of the most exciting and controversial public policy issues in contemporary Europe and the United States: the politics of immigration, integration, culture and religion. Focusing primarily on the immigrant experience of Muslims in France, Britain, the Netherlands, and Italy, and the Roma minority in Hungary, the seminar will draw on anthropology, sociology, literature, law, and political science to explore key questions including:

  • How historical, political, economic and social forces inform and shape contemporary immigration and integration policies in Europe and the United States. For example, do countries tighten their immigration laws in tough economic times? Are countries with state religions more willing to accommodate religious minority rights? What prejudices and fears of “the other” play into the design of integration policies?
  • How do Muslims view and negotiate their identities with the state?
  • How do the Roma navigate the violent racism directed against them and what is being done to combat this hatred?
  • What alliances are formed between “established” and “minority” religions? For example, how do evangelicals in Germany and the US bring migrants and natives into local and global political engagement?
  • What are and ought to be the “limits of tolerance” for certain traditions, such as polygamy, the headscarf, or arranged marriages—and who is to decide?
  • Is multiculturalism “bad” for Muslim women, in the words of Susan Moller Okin?
  • What are the contours of EU laws and policies on migration management?

    A main goal of the seminar will be to shatter existing stereotypes of immigrants and minorities as being passive objects of state policies and to highlight their social and political agency. Specifically, throughout the seminar, we will examine how immigrants create new spaces of citizenship for themselves and increasingly use the Internet and social media as tools for community organizing, mobilization, political lobbying, and identity construction.

    At the end of the seminar, participants will have a basic understanding of the politics of immigration and integration in Western Europe and on the EU level, of the key issues and themes shaping the debates, policies and laws and, finally, of the creative ways in which immigrants and minorities exercise their political agency and create new spaces of citizenship for themselves.

    The seminar will feature international guest speakers who will join the seminar via videolink to share their insights and expertise on key cases.


    Sylvia Maier is a clinical assistant professor, at the Center for Global Affairs, SCPS, New York University, where she teaches graduate level courses in international relations, international law, ethics in international affairs, gender in international relations, politics of the Middle East, international women’s movements, women and new media, research methods and advises master theses in these fields. She holds a Ph.D. in political science from the University of Southern California.

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    If your institution would like to participate as a flagship campus in the "Understanding the New Europe" program, please click here.

    The Program

    As a result of the recent financial crisis, fundraising for colleges and universities has become more difficult than ever, while the need for funds has become increasingly urgent. Students are faced with increased tuition; salaries for faculty and staff in many colleges and universities have been frozen; and health benefits reduced. Raising funds is critical to the survival of universities and non-profit organizations, which cannot exist without effective financial support from corporations, foundations, and individuals. New York University’s Heyman Center for Philanthropy and Fundraising is pleased to partner with the Faculty Resource Network in providing a week-long institute from June 10 to June 14, 2013, on how to be effective in securing financial support for your institution. Heyman Center faculty, many of whom are widely acclaimed experts in fundraising and grantmaking, will serve as presenters.

    These sessions will include discussions on:

    • Technology and Social Media Fundraising
    • Art of the Ask: Effective Major Gift Solicitation
    • Corporate Social Responsibility
    • Social Enterprise
    • Foundations
    • Proposal Writing
    • Annual and Capital Campaigns
    • Ethics and Law
    • Board Governance
    • Global Philanthropy

    This institute is suitable for key administrators and faculty members who are engaged in institutional advancement and fundraising. The application deadline for the institute is Friday, March 8, 2013.


    Naomi Levine chair and executive director of the NYU Heyman Center for Philanthropy and Fundraising, served for 25 years as the senior vice president for external affairs at New York University. During her tenure, NYU transitioned from a commuter school at the brink of bankruptcy in the late 70s to successfully completing its first billion dollar campaign in the late 90s raising $2.5 billion, thus contributing to NYU’s evolution into the Global Network University it is today.

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