We are pleased to announce an online lecture by
Elizabeth Cullen Dunn
(Indiana University Bloomington)

Refugees and Racial Capitalism: What “Integration” in the US Labor Market Means?

This lecture is going to be the a part
of the 2020/2021 Fall Edition of the
American Studies Colloquium Series.

Thursday, January 21, 2021
at 4:45 p.m

You can get 2 OZN points for participating in this event.
Check how to collect OZN points online.

poster by Paulina Derecka (@paulinaderecka)

Where?

This lecture will be streamed online. To attend, click the button below or enter https://us02web.zoom.us/j/86141938754 into your browser, and join the meeting.

What?

Refugee resettlement has long been seen as a purely humanitarian act. When refugees are “integrated” into the labor market, it is seen as a tool to promote values such as self-sufficiency and dignity. But refugee labor is often needed by host countries, and refugees are often inserted into industries where they are tasked with jobs host country nationals refuse to do. Using the example of the American meatpacking industry, which relies heavily on refugees resettled by the US Department of State, I discuss why refugees were simultaneously deemed “essential” and “prohibited” during the COVID-19 epidemic. This paradox, in which refugees are both indispensable and stigmatized, is used to racialize and devalue their labor, creating ethnic enclaves in the labor market that simultaneously permit them to work and trap them in dangerous, underpaid jobs.

Who?

Elizabeth Cullen Dunn is Professor of Geography at Indiana University. Her current work focuses on refugees and labor.

She has worked on forced migration and humanitarian aid, which resulted in her book, No Path Home: Humanitarian Camps and the Grief of Displacement. Her first book, Privatizing Poland: Baby Food, Big Business and the Remaking of Labor, focused on blue collar workers in the food industry during the transition from state socialism.

News

Changes in Dr. Gajda-Łaszewska’s office hours schedule

June 26, 2024

Dr. Gajda-Łaszewska will be available in the office on Tuesday (2 July 2024), 1:30-3:30 pm and online (ZOOM) on Thursday (4 July 2024), 12:00-2:00 pm.

June 17-18: Polish-language conference „Jak uczyć o płci i seksualności? Interdyscyplinarność, instytucjonalizacja, zaangażowanie społeczne.”

June 17, 2024

Konferencja „Jak uczyć o płci i seksualności? Interdyscyplinarność, instytucjonalizacja, zaangażowanie społeczne” ma na celu stworzenie przestrzeni, w której mogą się spotkać społeczności akademickie, aktywistyczne, artystyczne, eksperckie tworzące i przekazujące wiedzę o płci i seksualności. Jaka mogłaby być dziś edukacja seksualna? Gdzie jest miejsce na feministyczny i queerowy aktywizm w akademii? Czy słowem kluczowym jest „równość” czy „nierówności”? Czy potrafimy wspólnie wyobrazić sobie studia magisterskie o płci i seksualności w Polsce? Zapraszamy na 6 paneli dyskusyjnych.

Year 2023/2024

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Weird Fictions Research Group cordially invites you to the very last event this semester! The lecture will show how medical anthropology and cultural studies can shed light on medicine-related social and cultural phenomena.

Year 2023/2024

June 6: Marketing Barbie’s “Curvy New Body”: Mattel’s Fashionistas Line and its Legacy Brand Politics

June 6, 2024

We would like to invite you to an upcoming lecture given by a Fulbright Scholar, Doctor Rebecca C. Hains! During this lecture, you will have the pleasure of listening to Dr. Hains’s exploration of Barbie from the feminist perspective, the history of Barbie’s body type, and the feminist critique around it. The talk will also discuss the PR surrounding the “Curvy” Barbies’ release, a topic that has sparked many intense debates.

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June 5: Dissecting Theater: Medical Horror on Stage

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Weird Fictions Research Group cordially invites you to a penultimate event this semester! We will discuss the ways in which medicine and theater are correlated and how medical horror stories can thrive on stage. We will explore the universal nature of theater by analyzing the sources of fear in Starkid’s The Guy Who Didn’t Like Musicals as well.