Video / Audio  Heyman Center For Humanities

In this book, Judith Friedlander reconstructs the history of the New School in the context of ongoing debates over academic freedom, intellectual dissidents, and democratic education. Against the backdrop of World War I and the first Red Scare, the Hitler years and McCarthyism, the student uprisings during the Vietnam War and the downfall of communism in Eastern Europe, Friedlander tells a dramatic story of academic, political, and financial struggle through brief sketches of New School administrators, faculty members, trustees, and students, among them Alvin Johnson and the political philosopher Hannah Arendt. As this unique educational institution prepares to celebrate its one hundredth anniversary, A Light in Dark Times offers a timely reflection on the New School's legacy, which can serve as an inspiration for the academic community today.

The Caine Prize for African Writing is a literature prize awarded to an African writer of a short story published in English. The prize was launched in 2000 to encourage and highlight the richness and diversity of African writing by bringing it to a wider audience internationally. The focus on the short story reflects the contemporary development of the African story-telling tradition. Columbia University hosted the 2018 Caine Prize winner Makena Onjerika, who was awarded the prize for her short story ‘Fanta Blackcurrant’ published in Wasafiri (2017).

New Books in the Society of Fellows: Murad Idris, Jordanna Bailkin and Ilana Feldman

You can't copyright facts, but is news a category unto itself? Without legal protection for the "ownership" of news, what incentive does a news organization have to invest in producing quality journalism that serves the public good? This book explores the intertwined histories of journalism and copyright law in the United States and Great Britain, revealing how shifts in technology, government policy, and publishing strategy have shaped the media landscape.

Dramatic art arose as a means of reckoning with war. The earliest known Greek plays were written by military veterans and performed by a chorus of young conscripts, dramatizing episodes from the Trojan War, before an Athenian audience whose lives were directly touched by military conflict. The 21st-century has seen a profusion of plays grappling with war on North American stages, written and performed under very different conditions. This roundtable event brings together a panel of playwrights whose innovative work has stimulated the expanding corpus of “war plays” -- Judith Thompson (Palace of the End), George Brant (Grounded), and Stephan Wolfert (Cry Havoc). They will reflect on the enduring power of live dramatic performance for thinking through contemporary culture's relationship to war, and consider what new forms and strategies are needed to face war's new realities.

The Oxford History of Life-Writing: Volume 2. Early Modern explores life-writing in England between 1500 and 1700, and argues that this was a period which saw remarkable innovations in biography, autobiography, and diary-keeping that laid the foundations for our modern life-writing. 

We are living in a time of deep divisions. Americans are sorting themselves along racial, religious, and cultural lines, leading to a level of polarization that the country hasn’t seen since the Civil War. Pundits and politicians are calling for us to come together, to find common purpose. But how, exactly, can this be done?   In Palaces for the People, Eric Klinenberg suggests a way forward. He believes that the future of democratic societies rests not simply on shared values but on shared spaces: the libraries, childcare centers, bookstores, churches, synagogues, and parks where crucial, sometimes life-saving connections, are formed. These are places where people gather and linger, making friends across group lines and strengthening the entire community. Klinenberg calls this the “social infrastructure”: When it is strong, neighborhoods flourish; when it is neglected, as it has been in recent years, families and individuals must fend for themselves.

In Mandarin Brazil, Ana Paulina Lee explores the centrality of Chinese exclusion to the Brazilian nation-building project, tracing the role of cultural representation in producing racialized national categories. Lee considers depictions of Chineseness in Brazilian popular music, literature, and visual culture, as well as archival documents and Brazilian and Qing dynasty diplomatic correspondence about opening trade and immigration routes between Brazil and China. In so doing, she reveals how Asian racialization helped to shape Brazil's image as a racial democracy.