Apr 12, 2021 Apr 12, 2021
12:00PM 01:00PM But When I Became a Man: University Event Topic: Lectures & MeetingsSchool: All Emory UniversityDepartment / Organization: James Weldon Johnson Institute for the Study of Race and DifferenceMeeting Organizer/Sponsor: James Weldon Johnson InstituteSpeaker/Presenter: Dr. Francine Reed - JWJI FellowEvent Open To: All (Public)Cost: FreeRegistration / R.S.V.P. link: https://emory.zoom.us/webinar/register/WN_sCZ41GoJSz60AX0qtrcUwgContact Name: Rhonda PatrickContact Email: rhonda.patrick@emory.eduDuring Reconstruction, many citizens remained unaware of the harrowing experiences that enslaved people had endured. Thus, Reconstruction literary artist Charles Chesnutt sought to rewrite the narrative of the glorious Old South as it was being framed culturally, a rewrite that implicated slavery in the perversion of faith and morality, in the animosity of poor whites against enslaved people, in the strife among some within the enslaved community, in the automatic guilt ascribed to black people in matters of right and wrong, and in the self-destructive behaviors that some enslaved people engaged in as a result of accepting white supremacist rhetoric touting their lack of human value.  In presenting a new, a different, a truer vision, Chesnutt aimed to foster a mature American citizenry, one able to deal with the national past based on the truth about slavery and its impact upon the enslaved population and the larger national community. In the twentieth century, civil rights advocate and literary artist James Baldwin urged for a mature citizenry steeped in truth about American history, particularly concerning race.  In his essay collection entitled The Fire Next Time (1963), Baldwin spoke of a criminal and destructive innocence among Americans, an innocence rooted in the unawareness of and the refusal to acknowledge the truth about racial animus in the United States as well the roots and consequences of it.  With Baldwin in the twentieth century and Chesnutt in the nineteenth century arguing that the health of the nation rested upon truth-telling, both writers revealed the important leadership role of literary artists in moving the United States toward its ideals of freedom and equality.  As guiding ancestors for the twenty-first century, Chesnutt and Baldwin affirm the argument made by Senator Mitt Romney after the January 6 insurrection in which Romney said that respecting and helping citizens who have embraced lies about national elections required telling them the truth. + Zoom Event Campus Events
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04:00PM 05:00PM Purple Sea: Department / Organization: French & Italian DepartmentMeeting Organizer/Sponsor: Prof. Achille CastaldoSpeaker/Presenter: Amel Alzakout & Khaled AbdulwahedEvent Open To: All (Public)Cost: FreeRegistration / R.S.V.P. link: https://emory.zoom.us/meeting/register/tJIscO-vpj4iH9WvXTwExpQkIJAZ5SNuMJCoContact Name: Achille CastaldoContact Email: achille.castaldo@emory.eduAmel Alzakout, born 1988 in Syria, is an artist and filmmaker based in Leipzig. Between 2010 and 2013 she studied journalism at Cairo University, Egypt; between 2017 and 2018 she studied art at the Weißensee Art Academy in Berlin; currently, she is studying media art at the Academy of Visual Art (HGB) in Leipzig. Purple Sea is her debut film. Previous work includes Stranger’s Diaries (2019, with Khaled Abdulwahed, 8-channel video installation, 35′), Home Sweet Home (2020, with Khaled Abdulwahed,11′). Khaled Abdulwahed, born 1975 in Syria, is an artist, photographer, and filmmaker based in Leipzig. Between 1996 and 2000 he studied Fine Arts and Graphic Design at Adham Ismail art school in Damascus, Syria, and at Frederick University in Nicosia, Cyprus. Previous work includes Bullet (2011, 2′), Tuj (2012, 2′), Slot in Memory (2013, 2’30”), Jellyfish (2016, 74′), Backyard (2018, 26′), Stranger’s Diaries (2019, with Amel Alzakout, 8-channel video installation, 35′), Purple Sea (2020, with Amel Alzakout, 67′), Home Sweet Home (2020, with Amel Alzakout,11′). + Zoom Campus Events
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