Mary Ann Newman

Silvia Albert Sopale is a Spanish Afrodescendant actress, writer, and cultural organizer. Born in San Sebastián, she currently resides in Barcelona and performs in Spanish and Catalan. She is a member of the Academy of Performing Arts of Spain, the founder and director of Periferia Cimarronas, the first Black theater in Spain, as well as the founder of Hibiscus, the Association of Afro-Spanish and Afrodescendents, and director of the Black Barcelona Festival. She is also the founder of Tinta Negra, a collective advocating for racial diversity in performing arts, and a member of t.i.c.t.a.c. (Workshop for Critical Transfeminist Antiracist Combative Interventions). She is the creator of: No es país para negras (2014), Blackface y otras vergüenzas (2019), Parad de pararme (2021), Cuentos desde la Periferia (2023), Mahmud y no solo Mahmud (2023) and Lotö, Un ritual de emancipación corporal (2024).

Undergraduate Seminar 2025

Un seminario para explorar la historia y política de la diversidad étnico-racial en España. Este curso tiene como objetivo introducir a les estudiantes en los movimientos sociales y cómo estos alimentan la práctica de artistas migrantes, racializadas y afrodescendientes que residen en el estado español. Descubriremos cómo les creadores se nutren y amplifican las reivindicaciones de los colectivos a favor de los derechos humanos. Abriremos el debate sobre el papel del teatro, la cultura y la performance en relación con los derechos civiles. Conoceremos en profundidad el movimiento por los derechos de las personas negras en España y conversaremos con artistas y activistas de la escena antirracista contemporánea. Estudiaremos propuestas artísticas para comprender la imbricación de los movimientos sociales en la cultura española. Realizaremos trabajos creativos para vivir en nuestros cuerpos la teoría “pasar de la palabra a la acción” y tener un mayor conocimiento de lo que significa “poner el cuerpo”. Esta clase es una oportunidad para comprender la relación entre arte y activismo desde una perspectiva descolonizadora.

Taught in Spanish. Prerequisite: SPAN-UA 50 OR 51 or approval of the Director of Undergraduate Studies (span-port.dus@nyu.edu). Satisfies a requirement for a minimum of one 300-level course for the majors and minors in Spanish & Portuguese (Spanish track), Romance Languages (Spanish), and Spanish & Linguistics.

For more information about the KJC Chair and to view previous chairs, click here.

Djamila Ribeiro is a public intellectual, writer and philosopher, a social justice activist, and one of the most influential leaders in the Afro-Brazilian women’s rights movement. A prolific essayist, Ribeiro was one of 51 authors from 25 countries invited to contribute to The Freedom Papers (2018). She is the author of two significant books including Quem tem medo do feminismo negro? (‘Who is afraid of Black feminism?’, 2018), a collection of articles on topics such as social mobilization, racial quota policies, and the origins of Black feminism in Brazil and America. Ribeiro is committed to sharing the thinking of others, through the editorial initiative, Sueli Carneiro’s Seal and Plural Feminisms. She is the coordinator of the Sueli Carneiro editorial Seal and the Plural Feminisms Collection, an independent editorial initiative that has changed the publishing market in Brazil. She is the author of several books and is a professor in the Journalism department at the Pontifical Catholic University of São Paulo (PUC-SP). A Columnist for Folha de S. Paulo newspaper, Ribeiro was Deputy Assistant of Human Rights for the city of São Paulo in 2016. She was awarded the 2019 Prince Claus Award, granted by the Kingdom of the Netherlands and considered by BBC one of the 100 most influential women in the world, the same year. Ribeiro is an online columnist, blogger and regular columnist for the daily paper Folha de Sao Paulo and Marie Claire Magazine. In 2019 she published Pequeno Manual Antirracista and was named Prince Claus Laureate by the Netherlands Prince Claus Fund for Culture and Development. And in March 2023, she gave a keynote address to the UN General Assembly on occasion of the International Day of Remembrance of the Victims of Slavery and the Transatlantic Slave Trade.

Graduate Seminar

During her stay at KJCC in Fall 2024, she will teach the graduate seminar “Feminisms from the South” on Tuesdays, from 2:00 pm to 4:30 pm.

This seminar calls upon Lélia Gonzalez's concept of Améfrica in order to identify its role as an intellectual category in thinking through new civilizatory frameworks. We will discuss the work of theorists from Brazil, the Caribbean, and South and Central America, where women writers of the Global South struggle to amplify their work in the face of a colonial politics of translation that exports critical work from the North to the South according to a primarily uni-directional model. By elevating the visibility of some of these contributions, this seminar proposes a dialogue between Feminisms. The course will be conducted in English with readings in English, Portuguese, and Spanish.

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Racism in Brazil and the USA: A conversation between Djamila Ribeiro and Ibram X. Kendi

Feminist Epistemologies and the Global South: Djamila Ribeiro & Linda Alcoff

Voices of Resistance: A Dialogue on Quilombola Identity, Colorism and Feminism

Carmen E. Lamas is Associate Professor of English and American Studies at the University of Virginia. Her books include The Latino Continuum and the Nineteenth-Century Americas: Literature, Translation, and Historiography (Oxford 2021) and Irene Albar. Novela cubana (1885, 1886), por Eusebio Guiteras. Edición facsímil (Editorial Calambur 2023). Her work has appeared in Revista Hispánica Moderna, Latin American Research Review, Latino Studies, Oxford Bibliographies, Early American Literature and in the edited volumes The Latino Nineteenth Century and the Cambridge History of Latina/o American Literature.

She is a co-founding editor of the journal Pasados: Recovering History, Imagining Latinidad. She is also on the Advisory Board of Recovering the US Hispanic Literary Heritage Project, the Editorial Board of J19: The Journal of Nineteenth-Century Americanist; and is a co-founder of the Latina/o Studies Association, an academic organization that brings together scholars, students, and activists in the study of Latinx concerns.

During her summer 2024 residency at the Espacio de Culturas (KJCC)/Faculty Resource Network, Carmen E. Lamas collaborated with Janet Bunde, University Archivist Special Collections, to access university records and manuscript collections related to university life in the early- to mid-nineteenth century. Her project focused on nineteenth-century Spanish-language professors and their time at the University of the City of New York (UCNY), the original name of NYU. She researched how they were hired, their
working conditions, the students they taught, the textbooks they used and/or composed, and their lives at UCNY. Navigating various archival sources (Council Minutes, Chancellor Records, Faculty Minutes, Commencement Announcements, and Course Bulletins, among others), Lamas confirmed the dates that each of the Spanish-language professors taught at UCNY, how much they were paid, and the important role given to the Modern Languages by the early visionaries of the university. The place of Spanish in the curriculum is very strong at the founding of the University and is listed as integral to the undergraduate degree in 1830, as the founding members of what would be NYU met and documented the type of institution they wished to build.

A handwritten summary of the course of instruction dated September 12, 1832, as the first academic year of NYU commences, stressed the need for immediate appointments for instruction in Modern Languages clarifying that they have deemed this step the more important, as it is well known that many of our young men have invested much valuable time in fruitless efforts to acquire these languages, to whom it much be of importance to know where competent and able instructions may be found.

In 1867 the Council resolved to endow three professorship, one of which is in Spanish.

Adding to the work of such renown scholars as Aquilino Sánchez Pérez, Mar Vilar García, Miguel Angel Esparza Torres, and Hans-Josef Niderehe, Lamas larger project recovers the lives and textual footprints of these important Spanish pedagogues. But it centrally addresses the content of their Spanish-language grammars, textbooks, and readers (libros de lectura), combing through the decisions they made regarding which literary excerpts (from Spanish plays and novels) to introduce to English-language learners in their pedagogical materials as examples or for translation practice. She investigates these choices, first, to show how these decisions made these pedagogues integral to the development of nineteenth-century US literature and historiography. Second, since these textbooks were simultaneously used by Spanish-speaking parents who accessed these resources to ensure their children would retain their native language, the project provides a glimpse into how Spaniards in New York City linguistically and culturally educated
their children. The use of these textbooks by English- and Spanish-language speakers thus reveals a temporal continuum of language learning for both second-language learners and heritage speakers up to the present day. The role of Spanish pedagogues at NYU and in Spanish-language learning in the city is central to that continuum. The archival evidence Lamas collected during her time at the Espacio de Culturas (KJCC)/FRN is the foundation for her more extended study on the lives and times of these Spanish and Spanish-language pedagogues living and teaching Spanish in New York City in the nineteenth century at New York University.

Dr. Lamas gives a special thanks to Janet Bunde, Dr. Jordana Mendelson, and Autumn Bush (NYU FRN) for their invaluable assistance and support.

Jorge Blasco Gallardo is a researcher, writer and independent curator. He has devoted most of his career to the study of archives and their activations, and everything having to do with the verb “to archive.” He has been a regular advisor to the Territorio Archivo project of the FCAYC (León), curating projects like the Mesuras exhibition document management system. As a teacher at the Elisava University School in Barcelona he has dedicated himself to the didactic development of everything that is not art, but without which it could not exist.

His best known work is the Archive Cultures project in its four editions (Fundació Antoni Tàpies, University of Valencia, University of Salamanca, Regional Government of Castile-Leon) under the titles: Archive Cultures; Memory, Identity and Identification; Collections and New Documents and Representations. He collaborated with the Research Centre of the Picasso Museum (Barcelona) in the analysis of the Brigitte Baer archive. As a researcher, he stands out for his work directing the group Archivo, Arte, Ciencia y Sociedad (Fundació Antoni Tàpies, ESAGED, Museu Picasso). He has recently edited the book Archive for the Virreina Centre de la Imatge, together with Eric Ketelaar, Joan Marie Schwartz and K.J. Rawson. His latest publication is Gabinete Voula Papaioannou, published by the Virreina Centre de la Imatge (Barcelona), Luis Seoane Foundation (A Coruña) and the Photographic Archives of the Benaki Museum (Athens). He has been a member of the scientific committee of the ARCHIVAR- EXPONER symposium organized by the Picasso Museum of Barcelona and the National Art Museum of Catalonia (Barcelona). He currently advises FCAYC (Leon) on the management system dedicated to the Archive-Collection; the Díaz-Caneja Foundation (Palencia) on the new arrangement of the collection in terms of archiving; and he is engaged in the study, exhibition and analysis of the documentation collection on the tattoos of the Fang people of Equatorial Guinea, conserved in the Museum of World Cultures, for the KJCC at NYU (New York).

During his stay at KJCC, Jorge will develop his research on the FANG tattoo archive from the Museu Etnològic i Cultures del Món (Barcelona) in various media: through an installation, public programs and a website that will contain the keywords that accompany the Fang cards.

The Fang archive is historically and conceptually complex. It was created with drawings from the Spanish colony of Guinea during the Franco dictatorship. This means that a lot of tacit narratives are found in its documents, and the narratives they tell are not evident at first look.

To view the website Jorge has developed in conjunction with the exhibition Gabinete Fang as part of his Scholar in Residence program: https://wp.nyu.edu/artsampscience-gabinetefang/

To learn more about KJCC Scholar-in-Residence Jorge Blasco Gallardo’s work, visit this link: https://independentresearcher.academia.edu/jorgeblascogallardo

Past Scholar-in-Residence:
Charles McDonald
Nick Jones

Mario Rufer was trained as a Historian at the National University of Córdoba, Argentina. He earned a PhD in African Studies, specializing in History and Anthropology, from El Colegio de México. He is currently a full Research Professor at the Universidad Autónoma Metropolitana, Mexico. His research interests are oriented to cultural studies and postcolonial criticism, and the social uses of the past and temporality: nation and public history, archives, memory, museums, heritage, and disruptive perceptions of time. He has published on critical methodologies in cultural studies and social sciences. Rufer is a member of the National System of Researchers of CONACyT in México.

His recent research projects have two main axes: the first one addresses the political uses of the cultural field as contemporary forms of sovereignty and as renewed modalities of distinction between history and culture. To do so, he works on the use of Mexican patrimonial narratives -mainly in community spaces, the illustrated maps of cultural diversity in Mexico, as well as activist cartographies and the specific ways in which difference is mapped in spaces of "plurality" and alterity. Secondly, he addresses subaltern forms of understanding temporality as restorative narratives of public and political memory in specific environments of violence in Mexico and Argentina.

He has been a visiting professor at the University of Bielefeld, Germany; University of Cauca; University of Buenos Aires; Universidad Javeriana; UCLA, Universidad Nacional de Córdoba, among others. His books as author or editor include La nación en escenas. Memoria pública y usos del pasado en contextos poscoloniales (El Colegio de México, 2010); Entangled Heritages. Postcolonial perspectives on the uses of the Past in Latin America (co-edited with Olaf Kaltmeier, Routledge, 2017); Indisciplinar la investigación. Archivo, trabajo de campo y escritura (co- edited with Frida Gorbach, Siglo XXI Editores, 2017), The Routledge Handbook to the History and Societies in the Americas (co-edited with Olaf Kaltmeier and Stefan Rinke, Routledge, 2020); La colonialidad y sus nombres (Siglo XXI Editores-CLACSO, 2022); El tiempo de las ruinas (co-edited with Cristóbal Gnecco, UAM-Universidad de Los Andes, Bogotá, 2023). He also writes fiction -when he can- and his first book of short stories is La raíz de los helechos (Cartografías, 2017). Most of his publications can be found in open and free access at: https://uam-mx.academia.edu/MarioRufer

Conferences

The altered archive: dreams, ghosts, murmurs

Thursday, October 5, 2023

6:30 pm

This lecture will start from some practices of research: indigenous archives buried in Argentinean dunes in the 19th century and later exhumed by the military; archives and letters buried near Mexican community museums at the time of the Revolution; buried archives of "cédulas reales" given to indigenous peoples before being "swallowed" by the “narco” in the last decade. Stories of ghosts haunting those archives, whispers of loss: loss of leaders, of resources, of land. But there are dreams about a different history: a history of continuous possession of the lands, dreams of a leader who waters the lands already dried up by the work of extractive companies, dreams of restitution of resources. What is encrypted in this history of buried treasures? What ideas of history, restitutive memory and community do they bring into play? How do these dreams speak of a possessed history, of connective memories and an altered language of time?

In the museum of forgiveness: state, violence and culture in Mexico

Thursday, October 26, 2023

6:30 pm

In February 2017, the Mexican state issued a public apology to three ñañú (Otomí) women who had been unjustly imprisoned in 2011, and spent years in prison on trumped-up charges by the Hidalgo state police. The press covered the apology request extensively, which was highly ritualized as a state "performance". There was just one detail that very few noticed: the place chosen for the apology was one of the auditoriums of the ethnography rooms of the Mexican National Museum of Anthropology. The conference will start with an analysis of the ritual act and then focus on some questions: Why did it seem "natural" for the State to apologize to three indigenous women in the anthropology museum? What tension does this "scenario" of the museum reveal, between State and citizenship, indigenous peoples and sovereignty, culture and history, place and justice?

Symposium: Tales of Time, Images of Memory: Archives, Evidence, Connections

In Latin America, we live in urgent times that require us to rethink our relationship with the past and with the remnants of multiple temporalities. Zones of extractivism, dispossession and specific violences—a violence of conquest, some authors would say—are mixed with recognition, cultural sovereignty and the proliferation of alterities in the context of the crisis of the nation-state. What is the shape of this Latin American "time" that defies the linear order of historical representation? What stories do the archives tell that we are unable to listen? We have long insisted that a "disobedient memory" is one capable of connecting what we have been forced to dissociate. What are the signs of these necessary connections and their multiple times? How can alternative/subaltern/queer archives be imagined not only as a kind of register, but in their potential for the future(s)?

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Panel 2

Panel 3

Graduate Seminar

During his stay at KJCC in Fall 2023, he will teach the graduate seminar “La memoria como conexión: montaje, pérdida y temporalidad insurgente en América Latina” on Tuesdays, from 4:00 pm to 6:00 pm. More information below:

Quan Zhou is a multifaceted self-taught artist, author, communicator, podcaster, graphic novelist, and specialist in social issues communication. She pursued her studies in Madrid and graduated in England in Graphic Communication. Her career in graphic novels began in 2015 with the publication of Gazpacho agridulce: Una autobiografía chino-andaluza, released by Astiberri. With that book, she became a pioneer in writing about the lives of children of immigrants in Spain. She continued her narrative journey with the sequel Andaluchinas por el mundo in 2017. In 2018, she collaborated with Nuria Labari to create El gran libro de los niños extraordinarios, published under the Silonia imprint. She ventured into graphic essays with Gente de aquí y Gente de allí in 2020, and in 2023, she returned to Astiberri to publish La Agridolce Vita.

She contributes articles and comic strips to Eldiario.es and Vogue, and has also written and illustrated for Píkara Magazine, El País & Eldiario. She hosts the podcast "Movidas Varias," produced by Plan H Media and distributed by Eldiario.es, which serves as a platform for voices from minority communities.

She has collaborated with numerous American universities as an artist-in-residence or guest speaker, including Cornell University, Boston College, Bryn Mawr College, Rutgers University, among others.

Moreover, she regularly engages in lectures about racism, identity, and cultural hybridization in Spain, the United States, the United Kingdom, Colombia, Sweden, China, and Taiwan, showcasing her commitment to addressing social issues and promoting cultural understanding.

Listen to Quan Zhou podcast's here

Scholarly essays about Quan Zhou ’s work have appeared in the Hispanic Journal, Spanish Graphic Narratives: Recent Developments in Sequential Art (Palgrave, 2020), and The Routledge Companion to Gender and Sexuality in Comic Book Studies (Routledge, 2020).

Describing her plans for her time as KJC Chair at NYU, Quan explains:

“Spain was perceived by those living in the country as a non-racialized territory until relatively recently. Now, new voices have arisen. Living and existing in a society that did not consider their racialization much, I bring that perspective to the public program and the seminar that I will lead at NYU. This perspective is intimately interlinked with my experience as an artist and activist but moreover as an Asian decent person that was born and raised in Spain, from the visibilization of strong minority voices that today fight their way into Spain to the power dynamics existing on what is considered artistic periferia and mainstream. My aim is to explore these ideas within the context of multicultural New York City.

Furthermore, given that New York is home to the second oldest Chinatown in the United States, and considering the country's pioneering role in mainstream media representation of the Chinese diaspora, I have observed and experienced how Spain has adopted stereotypes of Chinese people prevalent in the U.S. My aim is also to connect with the Chinese diaspora to deepen my understanding of its influence on our identities and to foster cooperation between diasporas.”

Watch Zhou's TED Talk

During her stay at KJCC in Spring 2024, she will teach the team taught graduate seminar with Jordana Mendelson on “Diversidad y arte en España, desde sus periferias” on Wednesdays, from 2: 45 pm - 4:45 pm.

Graduate Seminar 2024

Video Resumen de la Estancia

Moving Diasporic Bodies: Tragicomedy Musical Conversation with Chenta Tsai

Race Narratives through Contemporary Media: Comic, Podcasts & AI

Maternidades y Feminismos en España: Interseccionalidad y decolonialidad

Edad y territorio como vehículos de otrerización

KJCC’s Artists in Residence for the 2024-2025 academic year are the theater company What Will the Neighbors Say? The Neighbors are joining the KJCC to continue developing a new experimental documentary theater play, "At the Barricades," which examines the international volunteers who traveled to Spain between 1936-1939 to fight against Fascism in the Spanish Civil War. Inspired by true stories of those who traveled to Spain in 1937 to join the anti-Facist forces as a framing, this research-based play explores the integrated Lincoln Battalion to unpack the nature of their resistance and solidarity. This unit fought alongside a range of foreign comrades in Spain - from Scots to Cubans to Filipinos - in an international crusade against authoritarianism. Unfortunately deeply prescient in our current moment, "At the Barricades" is a morally complex work that highlights the bravery of the foreign volunteers in the Spanish Civil War, and asks today’s audiences what they would be willing to sacrifice for the freedom of others - and themselves.

As Artists in Residence at KJCC for the 2024-2025 academic year, the Neighbors will continue researching and workshopping “At the Barricades” with members of the NYU community, with work-in-progress sharings throughout the year. At its conclusion, a full reading of the show will be presented at KJCC ahead of the Off-Broadway world premiere of the piece in late Spring/early Summer 2025.

What Will the Neighbors Say? is a 501(c)(3) documentary theater company that provokes questions through untold stories. Founded by a collaborative cohort of international artists, the Neighbors present overlooked social, cultural and historical narratives that challenge the audience to reflect on the current moment. Through a combination of source-based experimental plays, arts education programming and dynamic community gatherings, the troupe encourages rowdy and rigorous debate at the theater and throughout the Neighborhood.

Since its inception, the company has premiered 12 original plays in 6 cities in 4 countries on 2 continents, and co-presented a further 24 new works. Over the course of these projects, the Neighbors have created jobs for over 250 artists - 75% of them non cis-male identifying and 50% of them members of the global majority of immigrants. Through their robust community engagement department, the Neighbors have organized symposiums, staged annual benefits for organizations ranging from Planned Parenthood to PERIOD and hosted free public events, including their free flagship program, "storytime," a night of storytelling and live music. The Neighbors are members of the Adjunct Faculty at Marymount Manhattan College and were Adjuncts and the Company-in-Residence at CUNY Queens College for three years. Additionally, they have taught at the Wuhan Institute of Design & Science, Ohio State University and the National Alliance of Acting Teachers, amongst others. They also provide free arts education for students K-12 through their What Will the Kids Say? Initiative.

JAMES CLEMENTS

James (he/him) is a Scottish writer, actor, theatermaker and arts educator based between New York and Scotland. Clements has performed at venues including La Mama, BRIC, HERE and MITU580, and has written and directed projects at Rattlestick Playwrights Theater, the 92nd Street Y, Culture Lab, Brooklyn Art Haus, The Colony Theatre (Miami), The Keegan Theatre (Washington, D.C) and the Stockwell Playhouse (London). His source-based experimental plays include "The Diana Tapes" (2016), "Four Sisters" (2017), "Beauty Freak" (2018), "MEDEA/BRITNEY" (2019), "Ellis Island" (2021), "The Aliens Make Thanksgiving Dinner" (2022), "TRACES" (2023) and "Brothers in Arms" (2023). Critics have described these plays as “searing” (New York Times), "magnifying" (TimeOut), "intricate" (BroadwayWorld), "compelling" (The Guardian), "affecting" (Playbill) and "intellectual" (Theatre is Easy), and they have been performed in cities across the United States, Canada and the United Kingdom. He is a member of the Adjunct Faculty at Marymount Manhattan College and NYU Tisch, and is Co-Artistic Director of What Will the Neighbours Say? Theatre Company and the Teaching Artist-in-Residence and Entrepreneurship Fellow with the NYU Production Lab. Previous residencies include The Cell, Culture Lab, Brooklyn Arts Council and BRIClab. His work has been recognised by the Queens Council for the Arts, DCLA, NYFA, A.R.T./NY, NYU and Creatives Rebuild New York, amongst others. He is represented for film and television by Swain-Thomas Agency, and recent credits include voicing a national commercial for the Super Bowl.

SAM HOOD ADRAIN

Sam (he/him) is an actor, director, educator and producer based in New York City. As a theatre artist, Hood Adrain has worked on stage and off at companies across the country including Trinity Repertory Company, MCC Theater, Chickenshed NYC, Infinity Theatre Company, Barrington Stage Company Dramatist Guild Foundation, Missoula Children's Theatre, Ithaca Shakespeare Company, HERE, IRT, MITU580, The Flea, Theatre Row, Strongbox Theater, and Audible to name a few. He is the recipient of the 2021 BroadwayWorld Award for Best Director of a Regional Production for his direction of "The 39 Steps" at Strongbox Theater. He is a published playwright whose works have been called "heartbreaking ....complex...and thought-provoking" (Theatre is Easy), have been presented in NYC at HERE, The Nuyorican Poéts Cafe, and IRT Theatre, toured to Providence and Toronto and produced as a radio play by the Cleveland Radio Players. He is a member of the Adjunct Faculty at Marymount Manhattan College and is thrilled to be in residence at NYU KJCC. Recent TV credits include "Search Party" and "Law & Order" as well as a print campaign for Santander Bank. Sam is proudly a Co-Artistic Director of WWTNS? BFA NYU: Tisch School of the Arts, Experimental Theatre Wing, repped by WSM Talent.

Charles A. McDonald is a Visiting Assistant Professor of Spanish and Portuguese and the 2022-2023 Scholar-in-Residence at KJCC. Dr. McDonald received his Ph.D. in anthropology and historical studies from the New School for Social Research (2019). He is currently finishing his first book, Return to Sepharad: Citizenship, Conversion, and the Politics of Repair, which is an experimental ethnography of the return of Jews and Judaism in contemporary Spain. His writing has appeared in journals including Comparative Studies in Society and History, Cultural Anthropology, and American Ethnologist. His most recent publication —a chapter on the ethics of refusal—can be found in the volume Reparative Citizenship for Sephardi Descendants: Returning to the Jewish Past in Spain and Portugal (2023), edited by Dalia Kandiyoti and Rina Benmayor. A new ethnographic project, Queer Nightlife Ecologies, investigates how raving and nightlife are reshaping the pandemic politics of care, pleasure, and ethics. His research has been supported by the Social Science Research Council, Wenner-Gren Foundation, Posen Foundation, the Center for Jewish History, and the Sexualities Project at Northwestern (SPAN). Before coming to NYU, McDonald held postdoctoral fellowships at Northwestern University and Rice University, and has been a visiting researcher at the Consejo Superior de Investigaciones Científicas (CSIC), Universidad Autónoma de Madrid, and the Universitat Autònoma de Barcelona. Since 2015, he has been Managing Director of the Institute for Critical Social Inquiry (ICSI) at the New School.

At the KJCC, McDonald will continue working on the politics of race, religion, and citizenship in Spain and the Sephardi Jewish diaspora. His residency will highlight the history and ongoing reception of Spain’s 2015 Sephardi citizenship law in the Americas through collaborations with colleagues, public outreach, and student activities on campus.

To learn more about KJCC Scholar-in-Residence Charles McDonald’s work, visit this link:

https://nyu.academia.edu/CharlesAMcDonald

Past Scholar-in-Residence:

Nick Jones

Research Professor at the Centre for the Humanities and Social Sciences at Spanish National Research Council (CSIC), of which she was deputy director 2010–2012, and General Editor of Editorial CSIC and Director of Scientific Culture and Citizen Science since 2019. She has directed various group research projects on the modern history of publishing and reading; the professionalization of women writers; transatlantic cultural and publishing networks; and the intersections of literature, scientific discourse, and public policy. The results have been published in numerous edited volumes and academic journals (Revista de Literatura, Bulletin Hispanique; Journal of Spanish Cultural Studies; Studi Ispanici; Bulletin of Spanish Studies; Revista de Occidente; Journal of the History of Sexuality, Revista de Estudios Hispánicos, etc.).

She has authored, edited, or coedited 14 books: Eduardo López Bago y el naturalismo radica: Literatura y mercado editorial en el siglo XIX (1995); Mujer pública y vida privada: Del arte eunuco a la novela lupanaria (2008); La mujer de letras o la letraherida: Discursos y representaciones sobre la mujer escritora en el siglo XIX (2008); Redes públicas, relaciones trasatlánticas: Escritores, editores y lectores en el entresiglos hispánico (XIX–XX) (2012; monographic issue of _Revista de Estudios Hispán_icos); No hay nación para este sexo. La Re(d)pública transatlántica de las Letras: escritoras españolas y latinoamericanas (1824-1936) (Iberoamericana/Vervuert, 2015); “Por ser mujer y autora”… Identidades autoriales de escritoras y artistas en la cultura contemporánea (monographic issue of Ínsula. Revista de Letras y Ciencias Humanas, 2017), 365 relojes. La vida de la Baronesa de Wilson (2022), and in collaboration with Jo Labanyi and Elena Delgado, Engaging the Emotions in Spanish Culture and History (18th Century to the Present) (Vanderbilt University Press, 2015; Spanish translation, Cátedra, 2018) and New History of Iberian Feminisms (R. Johnson y S. Bermúdez). She has also coordinated the edition of the Obras completas of Ramón Gómez de la Serna (1996–2014, 20 vols.) and has edited the volume Total de Greguerías (2014).

Dr. Fernández is a member of the Advisory Board of 18 international academic journals from España, France, EEUU, Argentina, and Mexico, as well as of the Editorial Committee of 8 series of books from Spain, Germany, France, Mexico, and Argentina. Also, she is the creator and director of the website Ibero-American Editors and Publishers (centuries XIX-XXI) – EDI-RED. This academic portal proposes to draw up the map of literary publishing in Castillian, Catalan, Basque and Galician, as well as in Portuguese, from 1800 to the present, in both paper and digital formats in any geographical space. This ambitious project is centered on the personalities and the efforts of editors, publishing houses, literary series, and advisers, from the modest nineteenth-century artisans to the large groups which dominate international publishing industry at the current time: http://www.cervantesvirtual.com/portales/editores_editoriales_iberoamericanos/.

Visiting Professor at Columbia University in 2015, she has been invited to deliver lectures, organize seminars, and teach doctoral courses at numerous universities and research centers (París, Roma, Bologna, Utrecht, Nijmegen, Londres, Cambridge, Leeds, Munich, Viena, New York, Los Ángeles, Saint-Louis, Madison, Milwaukee, El Cairo, Bucarest, Toulouse, Mendoza, Buenos Aires, La Plata, Lima, Arequipa, Cuzco, México DF, La Habana, Santiago de Chile, Valparaíso, Cartagena de Indias, Burdeos, Amiens, etc.).

http://cchs.csic.es/es/personal/pura.fernandez

OTONO 2022 Seminario Graduado, MIERCOLES 3:00PM - 5:00PM

During her stay at KJCC, she curated the program “Todas deberíamos ser escritoras | Contar y ser contadas: autoras iberoamericanas en red”, a series of conferences with writer Lucía Lijtmaer and Isabel Calderón, hosts of “Deforme Semanal” podcast; with the writers Cristina Morales, Marta Sanz, Gabriela Wiener, and Luna Miguel; and professor at Stony Brook Aurélie Vialette. You can watch the conferences below:

1. Lucía Lijtmaer and Isabel Calderón, hosts of “Deforme Semanal” podcast

Thursday, October 6, 2022

2. Cristina Morales: Emancipación autoral y dialéctica editorial. Del escribir con el cuerpo de Teresa de Jesús a la escritura fácil

Introduced by Grecia Márquez García (NYU)

Thursday, November 10, 2022

3. Marta Sanz: Cuerpos, escritura, violencias y desobediencias. Los nuevos lenguajes y discursos de las monstruas y centauras del feminismo

Introduced by Tatiana Rojas Ponce (NYU)

Thursday, November 10, 2022

4. Aurélie Vialette: Contar y ser contadas. La genealogía de la Baronesa de Wilson o cómo repensar España, América y sus mujeres desde el siglo XIX

Introduced by Patricia González (NYU)

Thursday, November 10, 2022

5. Luna Miguel: El coloquio de las perras o cómo (no) acabar con la escritura de las mujeres hispanas. Sobre genealogías, lecturas, comunidades y emociones

Introduced and moderated by Carolina Dávila-Díaz (NYU)

Friday, November 11, 2022

6. Sara Mesa: La rebeldía de la mala letra frente a los silencios, la incomodidad del lenguaje y de los cuerpos

Introduced and moderated by Alejandra Rosenberg Navarro (NYU)

Thursday, December 8, 2022

She teaches political science at the University of Buenos Aires (UBA) and is professor of sociology at the Instituto de Altos Estudios, Universidad Nacional de San Martín (UNSAM). As a researcher at the National Council of Research (CONICET), she is also part of GIIF (Group for Feminist Research and Intervention). Gago is the author of Neoliberalism from Below: Popular Pragmatics and Baroque Economies (Duke University Press, 2017), Feminist International (Verso 2020), is co-author of A Feminist Reading of Debt, with Luci Cavallero (Pluto Press 2021), and of numerous articles published in journals and books throughout Latin America, Europe, and the United States. She is a member of the independent radical collective press Tinta Limón. She is part of the scientific board of different academic journals: Critical Times (Berkeley University), Hypatia. A journal of feminist philosophy (Oregon University), Scripta Nova. Revista Electrónica de Geografía y Ciencias Sociales (Universidad de Barcelona), Dialogues in Human Geography, (Sage Journals) and Revista Bajo el Volcán, (Benemérita Universidad de Puebla, México). She was visiting professor and lecturer at different universities in the United Kingdom, Spain, Italy, Unites States, Germany, Chile, Brasil, Colombia, Perú, and México.

Graduate seminar

During her stay at KJCC in Spring 2023, she will teach the graduate seminar “Prácticas feministas: tiempos y territorios de la revuelta” on Tuesdays, from 4:30 pm to 6:30 pm. More information below:

“Prácticas feministas” special program

Gago will also curate the special program “Prácticas feministas”. More information below:

Events:

¿Qué significa hoy reencantar el mundo? | Diálogo entre Verónica Gago (Spring 2023 Andrés Bello Chair) y Silvia Federici

https://www.kjcc.org/event/que-significa-hoy-reencantar-el-mundo-dialogo-entre-veronica-gago-spring-2023-andres-bello-chair-y-silvia-federici/

VIDEO AVAILABLE:

Taller | Investigación feminista: metodologías y prácticas de experimentación

https://www.kjcc.org/event/taller-investigacion-feminista-metodologias-y-practicas-de-experimentacion/

VIDEOS AVAILABLE:

Jueves, 30 de marzo de 2023 | Eje 1: Investigar las violencias Celeste Perosino - Gladys Tzul - Fernanda Martin

Jueves, 30 de marzo de 2023 | Eje 2: Investigar la organización política Luci Cavallero - Helena Silvestre - Alondra Castillo

Viernes, 31 de marzo de 2023 | Eje 3: Investigar el trabajo Rafaela Pimentel - Marta Malo - Ana Julia Bustos

Viernes, 31 de marzo de 2023 | Ronda de cierre Comentarios de síntesis de Verónica Gago y Susana Draper

Variaciones del neoliberalismo en América Latina: una genealogía feminista crítica | Conferencia de Verónica Gago (Spring 2023 Andrés Bello Chair). Presentada y moderada por Susana Draper (Princeton University; La Laboratoria – New York)

https://www.kjcc.org/event/variaciones-del-neoliberalismo-en-america-latina-una-genealogia-feminista-critica-dialogo-entre-veronica-gago-spring-2023-andres-bello-chair-y-susana-draper-princeton-university-la-laboratoria-new-york/

Scholar-in-Residence

Fall 2021 - Spring 2022

The KJCC congratulates our scholar-in-residence Dr. Nicholas R. Jones on his appointment as an Assistant Professor in the Department of Spanish and Portuguese and an Affiliate in the Program in Early Modern Studies at Yale University. We look forward to future collaborations with him and the Department.

Jones (UC Davis) is author of the prize-winning Staging Habla de Negros: Radical Performances of the African Diaspora in Early Modern Spain (Penn State University Press, May 2019) and co-editor of Early Modern Black Diaspora Studies: A Critical Anthology (Palgrave, December 2018) and Pornographic Sensibilities: Imagining Sex and the Visceral in Premodern and Early Modern Spanish Cultural Production (Routledge, January 2021) with Chad Leahy. Jones also co-edits the Routledge Critical Junctures in Global Early Modernities book series with Derrick Higginbotham and is the new Editor-in-Chief of Caribbeana: The Journal of the Early Caribbean Society. Jones has held visiting appointments at Georgetown University and New York University and has published widely in journals such as Colonial Latin American Review, Hispanic Review, University of Toronto Quarterly, among others.

Jones’s residency will chart and uncover the conception, legacy, and porousness of Iberian Blackness–archival, performative, visual–across time (but primarily throughout early modernity). His residency will culminate in a two-day conference supported by the National Endowment for the Humanities on how the Atlantic slave trade and resulting African diaspora shaped Iberia’s “Golden Age” of theater. Diverse modes of Black performance enriched this quintessentially early modern entertainment as it took shape in Portugal and Spain on the Iberian Peninsula. This theater also thrived across the Atlantic as these two maritime empires extended their reach. To explore this topic in depth, Jones and his co-convenor Elizabeth Wright, Editor-in-Chief of Bulletin of the Comediantes, will bring together nineteen scholars from North America, Europe, and Latin America to present papers at New York University’s King Juan Carlos I Center on April 29-30, 2022, will be free and open to the public. After going through peer review, papers will be published in the Bulletin of the Comediantes (volume 75, no. 1 & 2, 2023), reaching a worldwide audience through print and online editions.

To learn more about KJCC Scholar-in-Residence Nicholas Jones’s work, visit these links:

https://www.aaihs.org/top-10-of-2018-9-the-legacy-and-representation-of-blacks-in-spain/

https://www.publicbooks.org/whose-spanish-anyway/

https://www.blackagendareport.com/bar-book-forum-nicholas-joness-staging-habla-de-negros-radical-performances-african-diaspora-early

Past Scholar-in-Residence:

Mary Ann Newman

Diego Baena received his PhD. from the Department of Spanish and Portuguese at Princeton University in 2020. He also holds a BA in History and Romance Languages and Literatures from the University of Chicago. Prior to his doctoral studies, Dr. Baena worked for a year as a bilingual tutor with Chicago Public Schools.

His dissertation, entitled “La literatura y sus pueblos: demopoéticas de la España liberal (1834-1854) [Literature and its Peoples: the Demopoetics of Liberal Spain, 1834-1854],” explores the intersection between popular literacy, various forms of popular media, censorship, and dissident political cultures in nineteenth-century Spain, with a special focus on the era of liberal rule known as the Período Isabelino. His principal focus as a researcher has been on republican, “utopian” socialist, or otherwise anti-establishment authors and political cultures from the 19th and early 20th centuries, and on forms of popular media ranging from the folletín novel, to the popular theater of the género chico and the largely anonymous forms of “minor” graphic and performed literature known as literatura de cordel.

While one part of Dr. Baena’s research to date has focused on representations of urban and transatlantic migration, popular education, knowledges, and working-class caring economies in the works of Emilia Pardo Bazán and Rosalía de Castro, his more recent endeavors seek to question the perceived relationship between, on the one hand, what is generally called ‘Literature’ in the nineteenth and early twentieth centuries and, on the other, what is broadly called “popular” or “mass” culture, seeking also to disquiet the at-times arbitrary distinctions that have tended to be imagined between so-called “high” and “low” aesthetic and political forms.

Dr. Baena is currently preparing publications on the Madrid bohemian literary scene and on the intersection of cholera pandemics and working-class revolts in mid-nineteenth-century Spain. He has also published in the Madrid-based cultural magazine, CTXT.

Sebastián Figueroa received his Ph.D. in Hispanic Studies from the University of Pennsylvania in 2020. He also holds an MA in Modern Languages from Universidad Iberoamericana, Mexico City, and a BA in Language and Communication from Universidad Austral de Chile.

His dissertation, “Landscapes of Extraction: Capital and Nature in 21st century Latin American Literature and Film,” analyzes the relationship between resource extraction and ecological crisis in a series of novels and documentary films from contemporary Latin America about mining, agribusiness, and manufacture during the first decades of the 21st century.

Dr. Figueroa works on the intersections between class, race, gender, and ecology in Latin American cultural production. He is currently working on a book manuscript titled, Poéticas de la extracción. Literatura, naturaleza y capitalismo en América Latina, in which he analyzes the relationship between capitalist development, resource extraction and ecological crisis in Latin American literature from the 20th and 21st centuries. He has written about extraction and landscape in Patricio Guzmán’s documentary films and monocrop agriculture in Juan Cárdenas’ fiction. He has also written about the poetics of exile in Roberto Bolaño, filmmaker Jaime Barrios, and Brazilian composer Carlos Gomes. Sebastián Figueroa’s research interests range from critical theory, cultural studies, and film theory to environmental humanities.

Dr. Figueroa has taught as a visiting professor at Haverford College, and as adjunct at Universidad Austral de Chile and Universidad de Los Lagos. He received a scholarship from the Government of Chile to pursue graduate studies in Mexico (2008-2011), and the Beca de Creación Literaria (Chile, 2013) for the collection of poetry Dracma (published in 2016 by Serifa, Valdivia). In 2011, he founded Donceles, a bookstore and cultural hub in Valdivia, Chile. He was assistant editor in Revista Austral de Ciencias Sociales and Estudios Filológicos, and book review editor in Hispanic Review.

SONORIDAD.ES

Sound Landscapes in the Iberian Peninsula
A Virtual Artistic Residency Diptych
Isabel Do Diego & La Señorita Blanco
Curated by Daniel Valtueña
NYU King Juan Carlos I of Spain Center
2020-2022

NYU KJCC Artist-in-residence 2020-2021 – Isabel Do Diego

Isabel Do Diego –NYU KJCC Artist-in-residence 20-21– is the sound alter ego of Juan Diego Calzada, founding member of the performing arts collective Vértebro. DEPUEBLO is their first sound project which was released in 2020. This album combines rural sounds from southern Spain with electronic experimental music. Their artistic project is located at the intersection of traditional folklore and machine-driven explorations on the prosthetic body. Isabel Do Diego is now working on the live version of their album and planning their second recording to be released in 2022.

In the Fall 20 semester, NYU King Juan Carlos I of Spain Center inaugurated its first program of artistic residencies, which furthers the Center’s promotion of Iberian and Spanish-speaking cultures by creating a formalized structure for the regular support of the visual and performing arts. The artistic residencies aim to promote the creation of original artworks by specifically commissioning artists to develop new work for either an online or in-person format. Conceptualized and curated by Daniel Valtueña this Artist-in-Residence program will run from 2020-2022, centering the voices of two different artists, one in residence for each year. Inspired by the need to listen to the pandemic times we live in, this first iteration of the program was titled SONORIDAD.ES: Sound Landscapes in the Iberian Peninsula and includes the artists Isabel Do Diego and La Señorita Blanco.

In October 2020, SONORIDAD.ES inaugurated with an event titled SONORIDAD.ES: Listening to the Iberian Landscape featuring both artists and NYU Associate Professor Dylon Lamar Robbins in a conversation moderated by curator Daniel Valtueña. This inaugural event brought to the table a variety of topics such as the idealization behind the pueblo, the importance of daily rituals, artistic creation as an act of listening, and the transcendency animality embodies. At this early stage of the project the audience could perceive how –while different– Isabel Do Diego’s and La Señorita Blanco’s creative universes shared a deep connection to issues such as folklore, nature, or tradition. Not by chance, the two peninsular villages where their artistic creations are rooted –Isabel Do Diego’s Villa del Río (Córdoba, Andalucía) and La Señorita Blanco’s Castuera (Badajoz, Extremadura)– are, while in different regions and officially associated with specific folklores, less than a couple of hundred kilometers apart.

YOUTUBE VIDEO EVENT OCTOBER 29

After this inaugural event, Isabel Do Diego started to work on a project that aimed to reflect on their first album DEPUEBLO. Premiered during the days the world was breaking apart in March 2020 because of the COVID-19 global pandemic, this album provided a momentary relief around the notion of “folclore austero y brutalista” that characterizes Isabel Do Diego’s sound universe. In a conversation held in early December 2020, artist Isabel Do Diego and curator Daniel Valtueña discussed their short but intense artistic trajectory and showcased some of the materials that are integral to DEPUEBLO.

YOUTUBE VIDEO EVENT DECEMBER 3

During their period of online artistic residency, Isabel Do Diego revisited their album DEPUEBLO and reflected retrospectively on the sound universe that took them seven years to polish. Isabel Do Diego decided to work on new visuals for some of the tracks included in DEPUEBLO as well as original recordings introduced by an extremely valuable, personal, and intimate archival document which speaks to the origins of Isabel Do Diego’s identity. Integrated as part of a 18-minute film, SONORIDAD.ES hosted the world premiere of DEPUEBLO (El origen) in early March 2021. This film includes the previously mentioned archival video along with the RETABLO PARA DOS VOCERÍOS Y UN TARAREO which includes CANTIL · Vocerío de pestilencia, ABISAL · Vocerío de Resistencia, and ARA · Tarareo con brío; BARBECHO · Quejío en barullo; and RETABLO PARA DOS ORACIONES Y UN REMATE which includes RED · Oración bajo distancia, SED · Oración bajo vigilancia, and OQUEDAD · Remate para reposo.

YOUTUBE VIDEO DEPUEBLO (EL ORIGEN)

All of these materials were screened in a closing event in March 2020 in which Isabel Do Diego reflected along with the audience about the striking images and powerful sounds created for SONORIDAD.ES. DEPUEBLO (El origen) and the tremendous potential the piece holds for raising issues related to dissident sexualities, challenged traditions, and reimagined genres.

YOUTUBE VIDEO EVENT MARCH 11

At the end of Isabel Do Diego’s residency, the KJCC prepares itself to launch the second part of SONORIDAD.ES and host the second NYU KJCC Artist-in-residence: La Señorita Blanco. In a conversation between the artists and curator Daniel Valtueña recorded in the form of a podcast, Isabel Do Diego and La Señorita Blanco reflected on some of the questions that centered the inaugural event after almost half a year of work. This conversation symbolically put Isabel Do Diego’s residency at KJCC to an end and opened the door to La Señorita Blanco who will be joining the center in the fall of 2021.

PODCAST SONORIDAD.ES

King Juan Carlos Chair

Spring 2019 Andrés Bello Chair in Latin American Cultures and Civilizations

Julio Ramos has written extensively about literary and visual culture in Latin America and the Caribbean. His books include Desencuentros de la modernidad en América Latina: literatura y política en el sigo XIX (1989; translated by John D. Blanco as Divergent Modernities in 2002), Paradojas de la letra (1996, 2007), and Sujeto al límite: ensayos de cultura literaria y visual (2012). In 1990 Ramos edited and introduced Amor y anarquía: los escritos de Luisa Capetillo. His audiovisual and documentary work includes La promesa (1995, co-directed with M. Panasitti, N. Schüll, C. Penna et al., LASA Film Festival Merit Award), Detroit´s Rivera: The Labor of Public Art (2017, Gran Premio, Festival Internacional de Documentales Santiago Alvarez, and Ibizacinefest, Mejor Corto Documental), Mar Arriba: Los conjuros de Silvia Cusicanqui (2011), and Retornar a La Habana con Guillén Landrián (2014), co-directed with Raydel Araoz. Since retiring from UC Berkeley in 2010, Ramos has continued to work as an independent researcher and has taught as a visiting professor or adjunct at the Universidad Andina Simón Bolívar (Quito), Universidad de Puerto Rico (Río Piedras), Escuela Internacional de Cine y TV (Cuba), Universidad Nacional de Rosario, Universidad de Buenos Aires, University of Pennsylvania, and Fordham University.

Keila Grinberg is an Associate Professor of History at the Universidade Federal do Estado do Rio de Janeiro (UNIRIO) and a researcher at the National Council for Scientific and Technological Development (CNPq, Brazil). She has been a visiting professor at Northwestern University (2009) and the University of Michigan (2011/2012), and a Tinker Visiting Professor at the University of Chicago (2015/2016). Her book O fiador dos brasileiros: cidadania, escravidão e direito civil no tempo de Antonio Pereira Rebouças (Civilização Brasileira, 2002) is currently being translated into English (UNC Press). She has authored, coauthored, or edited ten books and dozens of articles in Portuguese, English, Spanish and French. Her new project examines nineteenth century cases of kidnapping and illegal enslavement on the southern Brazilian border and their larger effects on the making of South American international relations. With Hebe Mattos and Martha Abreu, she is currently directing the public digital history project Pasts Presents: memories of slavery in Brazil.

Meet her in this filmed interview:

María Dolores Jiménez-Blanco is a distinguished Spanish art historian, whose main field of interest is the relationship between art and politics in 20th century Spain.

Montse Armengou Martín joins NYU as the King Juan Carlos Chair in Spanish Culture and Civilization for Spring 2017. Armengou is a distinguished Spanish journalist and investigative documentary filmmaker. She has worked at Televisió de Catalunya (TV3) since 1985.

Through her work as a documentary filmmaker, Armengou has unearthed and presented new evidence about the social history of repression in Spain during the dictatorship of General Francisco Franco (1936-1975) in Spain. She is the co-director, with Ricard Belis of Los niños perdidos del franquismo (Franco’s Forgotten Children, 2002), Les fosses del silenci (Graves of Silence, 2003), and El convoy de los 927 (927 on the Train to Hell, 2004, about the Spanish victims of the Holocaust). More recently, she has directed two high-profile documentaries. Abuelo, te sacaré de aquí (2013) chronicles the history of the Valle de los Caídos (the “Valley of the Fallen”), a fascist mausoleum in the middle of Europe honoring dictator Franco and established as a representation of democratic reconciliation. Los internados del miedo (The Institutions of Fear, 2015) investigates and documents the abuse and enslavement of children in state-owned, catholic orphanages during the dictatorship and part of the democratic transition.

Armengou’s documentaries have received numerous awards, including Premio Nacional de Cultura de Catalunya; Grand Prix FIGRA (France); Best Director, Human Rights Film Festival, Barcelona, 2003; Prix Liberpress (Radio France International, Paris); Bronze Medal, New York Film Festival; Prix International du Documentaire et du Reportage Méditerranéen; Best Use of Archival Footage, Memorimage; First Prize, IFTA; and First Prize, Catalan Women’s Association.

Armengou’s documentary work has also been published in book form and has become a resource for human rights agencies and activists. Her work has been used, cited, and discussed by several United Nations units, including the Special Rapporteur on the Promotion of Truth, Justice, Reparation, and Guarantees of Non-Recurrence, and the Working Group on Forced Disappearances.

During her tenure as the Spring 2017 King Juan Carlos I of Spain Chair, she will offer public lectures in English and a series of roundtables themed around her work. She will also teach a graduate seminar entitled Documentary and the Recovery of Historical Memory.

Josep M. Muñoz (Barcelona, 1959)

Josep M. Muñoz is a historian. By profession, he is an editor, publisher and translator.

He received his Ph.D. with distinction (Premi extraordinari de doctorat) in contemporary history in 1995 from the Universitat de Barcelona. His dissertation on the work of historian Jaume Vicens i Vives was awarded the first Premi Gaziel de biographies i memories (Gaziel Prize for Biography and Memoir), and published as Jaume Vicens i Vives (1910-1960). Una biografia intel.lectual (Edicions 62, 1997).

To mark the centenary of Vicens Vives’ birth, in 2010 the Catalan government celebrated the Year of Vicens Vives. Josep M. Muñoz curated two traveling exhibitions:

Jaume Vicens i Vives i la nova historia (Jaume Vicens Vives and New History), Museum of History of Catalonia (Barcelona) / Residencia de Estudiantes (Madrid)

Jaume Vicens Vives i Josep Pla: Complicitats (Jaume Vicens Vives and Josep Pla: Common Grounds), produced by the Josep Pla Foundation

Professional career

Public administration and international affairs:

Member of the cabinet of Mayor Pasqual Maragall (1987-1995).

Duties included the international projection of the City of Barcelona during the 1992 Olympic Period, speechwriting, planning of the Mayor’s international visits beyond Europe (Tokyo, New York, Boston, Washington, Atlanta, etc.)

Director of Cultural Services of the MACBA (Museum of Contemporary Art of Barcelona), 1995-1999

Responsibilities included conceptualization and programming of the cultural activities accompanying the exhibitions, and assisting the director in management duties.

Journalism and Publishing

Director, L’Avenç monthly magazine (2000-present)

Editorial director, L’Avenç books (2007-present)

Books

Jaume Vicens i Vives (1910-1960). Una biografia intel.lectual (Barcelona: Edicions 62, 1997).

Catalunya, una història europea (ed.), Barcelona: Generalitat de Catalunya, 2006. (There are also editions in English, French and Spanish)

Els quatre presidents: entrevistes a Tarradellas, Pujol, Maragall i Montilla, (ed.), Barcelona: L’Avenç, 2010.

Àlbum Jaume Vicens i Vives: 1910-1960 (ed.), Madrid: Sociedad Estatal de Conmemoriaciones Culturales/ Barcelona: Vicens Vives, 2010.

There is a Spanish edition.

1714-2014 [coord.] Barcelona: Fundació Lluís Carulla, 2014.

Temps present, temps passat: catorze entrevistes de L’Avenç,

Barcelona: La Magrana, 2016

Translations

El Coronel Chabert by Honoré de Balzac

Barcelona: L’Avenç, 2012

Adolphe by Benjamin Constant

Barcelona: L’Avenç, 2013

Els Últims dies d’Immanuel Kant by Thomas de Quincey

Barcelona: L’Avenç , 2013

_ La bèstia humana_by Émile Zola Barcelona: L’Avenç, 2014

L’hostal vermellby Honoré de Balzac Barcelona: L’Avenç, 2015

Memoria personal by JosephConrad Barcelona: L’Avenç (to be published, February 2017)

Jon Lee Anderson is a journalist, investigative reporter, and war correspondent and is presently a staff writer for The New Yorker.

He began his career in the early 1980s, reporting on Central America’s civil wars for TIME magazine and other journals. As a New Yorker staff writer since 1998, he has covered numerous international conflicts, including those in Syria, Ukraine, Libya, Iraq, Afghanistan, Lebanon, Somalia, Sudan, Angola, Mali, Liberia, and Central African Republic. Before becoming a staff writer for the New Yorker, Anderson wrote for The New York Times. His work has also appeared in Harper’s, El Pais, Internazionale, The Financial Times, Guardian, The Sunday Times, TIME, The Nation, and other periodicals and journals.

He is also a celebrated biographer, essayist and the author of books on contemporary conflict, military campaigns and political leadership. He is particularly known for his reporting on Latin America and is renowned for his numerous profiles of political leaders, including Hugo Chavez, Fidel Castro, Che Guevara and Augusto Pinochet. He is also involved and internationally recognized for teaching journalism and working to safeguard the rights of journalists, and is chairperson of the Colombia-based Gabriel Garcia Marquez Foundation for Journalism, and regularly teaches workshops for Latin American reporters.

Anderson has reported extensively on Latin America as well, writing on Brazil, Cuba, Venezuela, Nicaragua, and numerous other countries. He is on the board of the Colombia-based Gabriel Garcia Marquez Foundation for Journalism, and regularly teaches workshops for Latin American reporters. Anderson has profiled a number of international public figures such as Gabriel Garcia Marquez, Augusto Pinochet, Fidel Castro, Hugo Chavez, King Juan Carlos of Spain, Hamid Karzai, Mahmoud Ahmadinajad and Charles Taylor, the Liberian war criminal.

He has won a number of awards, most recently Columbia University’s 2013 Maria Moors Cabot award.

Anderson is also the author of a biography of the iconic Marxist revolutionary Ernesto Che Guevara. Entitled Che Guevara: A Revolutionary Life, it was first published in 1997. While researching the book in Bolivia, he discovered the hidden location of Guevara’s skeletal remains, after which they were exhumed and returned to Cuba.

Anderson has written several other books, including Guerrillas: Journeys In the Insurgent World, The Lion’s Grave: Dispatches from Afghanistan, and The Fall of Baghdad. He is also the coauthor of Inside the League and War Zones: Voices from the World’s Killing Grounds with his brother Scott Anderson.

Anderson’s next book project is a biography of Fidel Castro.

Jean-Frédéric Schaub teaches at the Ecole des hautes études en sciences sociales (Paris). He is researcher at the Mondes Américains EHESS’ center. Currently he prepares with Silvia Sebastiani a new book on the creation of racial categories in Western societies from the Late Middle Ages to the Enlightenment.

Schaub has been visiting professor at Yale (Fall 2005), Oxford Christ Church (2006-2008), Meiji University Tokyo (Ap. 2009), Michigan University (Fall 2011), Federal University at Rio de Janeiro (Nov. 2011), Waseda University Tokyo (Ap. 2014).

He has published as single author: L’île aux mariés. Les Açores entre deux empires (1583-1642), Madrid, Casa de Velázquez, 2014; L’Europe a-t-elle une histoire ?, Paris, Albin Michel, 2008 (trad. Spanish, Akal, 2013); Oroonoko, prince et esclave. Roman colonial de l’incertitude, Paris, Seuil, 2008; La France espagnole. Les racines hispaniques de l’absolutisme français, Paris, Editions du Seuil, 2003 (trad. Spanish, Madrid, Marcial Pons, 2004) ; Portugal na Monarquia Hispânica (1580-1640), Lisbon, Livros Horizonte, 2001 ; Le Portugal au temps du comte-duc d’Olivares (1621-1640). Le conflit de juridiction comme exercice de la politique, Madrid, Casa de Velázquez, 2001; Les juifs du roi d’Espagne. Oran, 1507-1669, Paris, Hachette, 1999 (trad. Hebrew, Tel Aviv, Taupress, 2012). His latest book, Pour une histoire politique de la race, comes out in March 2015.