CONFERENCE REPORT
“Bridges Across Nations: African-American Culture in the 21st Century,” the
African-American Studies conference held in Pulawy, Poland between February
2 and 5, was the first seminar in this part of Europe dedicated solely to
black literature and culture. Supported by the U.S. Embassy in Poland and
the Collegium for African American Research, the conference attracted
speakers and participants from many countries, including the U.S., Czech
Republic, Finland, Ukraine, Belarus, Germany, and Poland. The topics
presented during the workshop provoked a lively response from Black Studies
specialists, leading to heated and creative discussions but also to the
development of future acadec co-operation and the establishment of an ethnic
studies network in this part of Europe. The participants’ interest in
questions of race and African-American culture and their active involvement
in the debates are evidence that such issues should be addressed on a larger
scale in this part of Europe and initiatives like this seminar should be
developed into more cyclical activities. The organizers would like to thank
the invited speakers, Magdalena Zaborowska, Heike Raphael-Fernandez, Lillian
Williams, Kwakiutl Dreher, Chris Bell, Jerzy Kutnik, Coleman Jordan, and
Stan Breckenridge for their excellent presentations. We also thank all the
participants as well as the U.S. Embassy in Poland and Collegium for African
American Research, without whose support the whole project would never have
materialized.
Dziekujemy
Ewa Luczak
Andrzej Antoszek
James Wolfe from the U.S.
Embassy in Poland opening the conference
Listening to
Stan Breckenridge
Back in the day in Turkey;
Magda Zaborowska on Baldwin’s Turkish experience
Thinking hard, Kwakiutl
Dreher
CAAR couple, Magda Zaborowska
and Coleman Jordan
Chris Bell, Nottingham Trent
University, on racial sensitivity in an epidemic
From Laguna Beach, Ca, to
Pulawy, Poland Stan Breckenridge, our big star
On the future of
African-American Studies in East-Central Europe and Germany; from the left:
Yurij Stulov (Belarus), Natalia Vysotskaya (Ukraine), Karla Simcikova (Czech
Republic), Agnieszka Graff (Poland), Heike Raphael-Fernandez (Germany),
Chris Bell (USA)
Ghetto bookz, Heike
Raphael-Fernandez
Lillian Williams on Club
Women
Thank you, Stan
The local crew, Jerzy Kutnik,
Ewa Luczak (organizer) + Kwakiutl Dreher, Ola Grenda, Ania Podlewska,
Andrzej Antoszek (organizer)
The supreme Kwakiutl Dreher
on Mary Wilson and Motown
Final Program
Bridges Across the Nations:
African American Culture in the 21st Century
2-5
February 2006, Pulawy, Poland
Pulawy
Conference and Training Centre
How to get to Pulawy
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Bridges across the Nations:African American Culture in the 21st
Century
The
conference is organized by the Catholic University of Lublin and Institute
of English Studies, University of Warsaw and sponsored by the Embassy of the
United States of America in Warsaw and the Collegium for African American
Research
Puławy,
Poland
February 2
– 5, 2006
We
would like to express our gratitude to the American Embassy in Warsaw for
its more than generous help. Special and deep thanks go to Ania
Wilbik-Świtaj, who has offered us both her expert help and time. We would
also like to thank the Collegium for African American Research for its
financial and institutional support.
Conference Program
2
February
15.00 Registration: Centrum Konferencyjne (Conference
Center) “IUNG” Pulawy
18.00 Small reception and welcoming address (Centrum
Konferencyjne)
19.30 Film Blokersi and a discussion
3 February
7.00-8.30 Breakfast
Workshops: Centrum konferencyjne, Room 1
8.30- 10.00 Lillian
S. Williams, “Bridges across the Nations: Club Women as Activists, Cultural
Bearers, and Community Builders.”
10:00-10:15 Break
10.15-11.00 Chris Bell, “How to Have
Racial Sensitivity in an Epidemic.”
11:00-11:30 Coffee Break
11.30-13.00 Heike
Raphael, “Gazing at the Ghetto. The Emergence of Hip Hop ‘Street’ Fiction.”
13.30-14.30 Dinner
14.30-16.00 Jerzy Kutnik, “African
Americans in the Visual Arts.”
16:00-16:30 Coffee Break
16.30-18.00 Coleman A.
Jordan, “Harlem Speak: A Symbol of Defiance Aimed at Indifference."
18.30-21.30 Dinner in the conference
center or bonfire in the forest (warm clothes required)
4 February
7.00-9.00 Breakfast
Workshops: Centrum konferencyjne, Room 1
9.00-10.30
Magdalena Zaborowska, “African Americans in Unexpected Places. James
Baldwin’s Turkish Decade.”
10:30-11:00 Coffee Break
11.00-12.30 Kwakiutl
Dreher, “’Don’t Worry, Flo, I’ll Take Care of It.’ Mary Wilson: Taking Care
of Business through Autobiography.”
13.00-14.00 Dinner
Concert hall in the Palace
14.30-16.00 Stan
Breckenridge, “Ragtime, Blues, Stride, Boogie-Woogie, Jazz and Vocal
Standards: Techniques for a Successful Solo Piano Performance.”
16:00-16:30 Coffee Break
16.30-18.00 Stan
Breckenridge, “African American Music: A Representatio!n of American
Identity.”
18.30-19.30 Supper
19.30-20.30 Panel discussion. Chair:
Chris Bell.
“African American
Studies in Central and Eastern Europe”
5 February
7.00-9.00 Breakfast, Departure
Chris Bell
Nottingham Trent University
Chris Bell’s
essays and articles have appeared in The Faces of AIDS: Living in the
Heartland, Culture and the State: Alternative Interventions, and
Positively Aware. He has work forthcoming in The Disability
Studies Reader, 2nd ed (Routledge) and Illness in the Academy: A
Collection of Pathographies by Academics (Purdue). His book reviews have
been published in African American Review, Cercles and The Journal of the
Midwest Modern Language Association, while his encyclopedia articles have
been published in The Greenwood Encyclopedia of African American
Literature and The Greenwood Encyclopedia of MultiEthnic Literature.
Chris divides his time between Poland, his adopted home, and England, where
he is a Ph.D. student at the Nottingham Trent University. His thesis focuses
on US cultural responses to the AIDS crisis.
“How to
Have Racial Sensitivity in an Epidemic”
This paper begins by speaking to the different ways that AIDS has been
reacted to over the past twenty-five years in the United States, ultimately
arguing that the disease has failed to be negotiated along racial lines.
Although there have been countless and concerted efforts to deconstruct the
AIDS infected subject as a “gay white man,” thereby calling into question
the institutionalized politics and praxis of homophobia, (hetero)sexism, and
(hetero) patriarchy, and while there have been sporadic attempts to provide
redress to, treatment for, and representations of women who are infected
(e.g., the real life stories of Kimberly Bergalis and Mary Fisher, and the
fictional albeit problematic example of “Boys on the Side”), AIDS has yet to
be comprehensively theorized and acted upon along racial lines,
particularly, as this paper focuses on, in black communities. This becomes
all the more daunting a reality given the fact that, according to the US
Centers for Disease Control and Prevention, blacks comprise 12% of the
entire US population, but 47% of AIDS deaths. By revisiting the legacies of
Earvin “Magic” Johnson and Eric “Eazy-E” Wright, and by concentrating on the
ongoing frenzy of the “down low” (that suggests that large numbers of
straight-identified black men are engaging in sex with each other, and then
passing HIV to their wives and girlfriends), I want to emphasize that AIDS
is yet another lost opportunity insofar as addressing the racist positioning
of the black body in the United States.
Dr. Stan Breckenridge
Afro-Ethnic Studies California State University,
Fullerton
Maria Curie Sklodowska University Visiting Scholar
Dr. Stan Breckenridge holds a Ph.D. in
musicology at the prestigious Claremont Graduate University in Claremont,
California. Dr. Breckenridge has nearly twenty years of teaching experience
as an educator at numerous higher learning institutions. Some of these
include California State University, Fullerton, California State Polytechnic
University, Pomona, Soka University (in Aliso Viejo), Irvine Valley College,
and Saddleback College (in Mission Viejo).
Stan Breckenridge is the author of African American
Music for Everyone, which is now in its second edition. A new book
titled Popular Music in America is set for publication fall 2005.
The manuscript is broader in scope in that it addresses genres that move
beyond African American tradition to include zydeco, hillbilly, bluegrass,
reggae, speed metal, punk, tejano, and other forms. Dr. Breckenridge served
as consultant and developed the entire curriculum (20 courses) for the
Recording Technology & Entertainment Certificate Program (RTCEP) for the
South County Community College District, Mission Viejo, California (2001).
Within the past four years he has written grants that total nearly
$100,000.00.
Performing professionally as a singer and pianist
abroad and domestically for many years, Stan Breckenridge has delighted
audiences in Western and Eastern Europe, Japan, Hong Kong, and many cities
throughout the U.S. Various events and venues in the U.S. include The
Dorothy Chandler Pavilion, The Hollywood Bowl, Capitol Records, Pepsi Battle
of the Bands, The Greek Theater, The Forum (former name), The Sports Arena,
the Watts Summer Festival, and various T.V. shows. Stan Breckenridge has
performed with or for individuals such as Bill Cosby, Sam Riddle, Rowan &
Martin, Greg Morris, David Ruffin, Martha Reeves, Moms Mabley, Nancy
Sinatra, O.C. Smith, The Stylistics, The Gerald Wilson Orchestra, The Five
Blind Boys of Alabama, Rosie Grier, Merv Griffin, Jerry Lewis, Avery
Schreiber, John Travolta, John Wayne, and many others. Stan Breckenridge has
recorded three CD’s: Expositions, Meditations, and
Solo, which all include original compositions for piano.
Stan
Breckenridge is the founder and serves as the artistic director of the
Afro-Ethnic Studies Community, Ensemble – – a performance group and
co-curricular activity that actively engages students, faculty, and staff in
close collaboration to expand knowledge in a culturally and academically
enriching environment that works to strengthen multicultural understanding
and university-community relations.
"African American music: A
representatio! n of American identity"
The
lecture/demonstration will introduce and explain what I call "Identifiers of
American Culture." Some of these include democracy, diversity, ingenuity,
freedom, and compassion. The aim, using research methodologies surrounding
culture, politics, social behavior, philosophical and ethnomusicological
inquiries, gave the audience an opportunity to attain a different
perspective of American and African American cultures, and ultimately a
fuller understanding of American Identity.
Dr. Kwakiutl L. Dreher
English and African American Studies
University of Nebraska, Lincoln
Dr. Kwakiutl L. Dreher
was born and raised in Columbia, South Carolina. She earned a Bachelor’s
Degree in English from the University of South Carolina-Columbia, and her
Master’s from Clark Atlanta University in Atlanta, Georgia. Dr. Dreher
received her Ph.D. from the University of California-Riverside in 2001. She
credits her community in Columbia, especially her church with encouraging
her to pursue her academic interests. Her research interests include film
and visual culture, twentieth-century American literature (1970-present);
mass marketed popular literature and popular culture, and Black
autobiography. She is currently at work on a book entitled Dancing on
the White Page: Black Women in Entertainment Writing Autobiography. In
this manuscript, Dr. Dreher explores the lives of five Black women
entertainers: Lena Horne, Eartha Kitt, Diahann Carroll, Dorothy Dandridge,
Mary Wilson, and Whoopi Goldberg.
“’Don’t Worry, Flo. I’ll
Take Care of It’ Taking Care of Business through Autobiography: Mary Wilson
and Motown”
This paper is a study of a member of one of the most popular and
sensational girl groups in the world during the 1960s: The Supremes,
later Diana Ross and the Supremes. Wilson’s text, one that
popularized celebrity autobiography, Dreamgirl: My Life as A Supreme.
On one hand, Wilson’s book is an attempt to re-find her self
after being displaced as one of the lead singers and the subsequent crowning
of Ross as her replacement at the expense of the group. On the other,
Wilson’s book is a postmortem apology to Florence Ballard, who went downhill
after her tenure with The Supremes and died in poverty. While Wilson feels
somewhat responsible for Ballard’s dismissal from the group, her account of
the dysfunction in the house of Motown exposes the forces that affect the
relationship between the two women. “’Don’t Worry, Flo” deals with
discovering along with Wilson how the teenager at the time (re)negotiates an
identity that had been formed by adult Black men and women in power in the
1960s. How does this renegotiation take place when so much of it is tied up
and into the supreme image and stardom? What were the intra-racial
dynamics in such a supreme organization that introduced to Black
teenage culture of the 1960s a hip, cool, kind of Black womanhood?
Note: Mary Wilson’s autobiography builds a bridge that allows for an
understanding of the more popular autobiographical texts now being published
by Black women in popular culture and mass marketed in the 21st
century, namely Confessions of a Video Vixen by former rap video star
Karrine Steffans, The Wendy Williams Experience by Hip-Hop radio
personality Wendy Williams, and Ladies First: Revelations of a Strong
Woman by actress and rap artist Queen Latifah.
Dr. coleman a. jordan (ebo)
Taubman College of Architecture + Urban Planning
The Center for African and Afroamerican Studies
University of Michigan, Ann Arbor
Dr. coleman a. jordan (e)
is an assistant professor of architecture and design at the School of
Architecture, with an appointment in the Center for African and Afroamerican
Studies at The University of Michigan. He holds degrees from Ohio State
University and Clemson University (MArch) and has conducted research at the
Arkitektskolen i Aarhus and the Royal Academy of Fine Arts in Copenhagen,
Denmark. He has practiced full time in the profession of architecture, and
has been a full-time scholar and academic teacher since 1994.
His
research focuses on the ways in which architectural spaces, detail, and
forms can represent
and
construct diverse cultural identities, and especially African American
identity in both domestic and international contexts. His work engages
architecture in a discourse with literature and history and argues for
narrative and autobiographical approaches to American identity as inscribed
in the structures of the past and present.
He
received a W.E.B. Du Bois Fellowship from Harvard University to work on
research related to his work on the Black Atlantic, and recently exhibited
an installation in the “harlemworld: Metropolis as Metaphor” exhibit
sponsored by the Studio Museum in Harlem.
Jordan is currently producing a publication, “Building Black Bondage,”
inspired by his research on the slave holding castles in Ghana, Africa, and
his readings of Western discourses of space and identity in Europe and the
United States.
“Harlem
Speak: A Symbol of Defiance Aimed at Indifference.”
harlemworld:
Metropolis as Metaphor
an architecture show at the Studio Museum in Harlem, presented the work of
18 architects in a group analysis of Harlem’s unstable identity in changing
times. A massive megaphone marked the location of the exhibit Harlem
Speak: Street Signs & Soapboxes created by a team of collaborators,
architecture faculty coleman a. jordan and Mark Weston, and art faculty
Monte Martinez and Karen Sanders. Also assisting on the team was Anthony
Harris, a recent architecture graduate student, and current students Jessie
Allen-Young, Carrie Dessertine, and Jason Welker. Suggesting that the desire
to be heard never really goes out of style, the project nods to Harlem’s
rich history of protest and the once commonplace soapbox speakers who voiced
their opinions on Harlem’s street corners.
As Harlem
experiences vast developmental changes within the community—sometimes
referred to as the gentrification of Harlem—many citizens within the
community have been taken aback or surprised by the new shops and building
projects that have recently appeared. Harlem Speak echoes the public’s
feelings of disempowerment and lack of voice in these constructions through
mediums such as text, drawings, audio, and video. In addition to the
megaphone, a rank of three shopping carts contain items diverse in meaning
and symbolism—an ancient wooden soapbox, and two video screens replaying
“live-on-the-street” comments of Harlem residents. Flanking the exhibit is a
protest toolkit—a suitcase stocked with Harlem street signs, spray-paint
cans, a protest T-shirt, and miniature television with a surveillance video
playing.
Through its
many interwoven elements, the Harlem Speak exhibit does much to underscore
this quote from the February 13 New York Times review of the
Harlemworld show: “Architecture is now a hybrid…medium…. Its expressive
possibilities are limited only by the individual talents of those who choose
to operate in the field. It’s up to them to improvise the laws of
architecture as they go along.”
Dr. Jerzy Kutnik
Department of American
Studies
Maria Curie Sklodowska
University
Dr. Jerzy
Kutnik
is currently head of the Department of American Studies at Maria
Curie-Sklodowska University, Lublin. Between 1992-2005 was director of the
English Teacher Training College and between 1999-2005 was Associate Dean of
Humanities at MCSU; in 2001 established the Department of English at the
School of Natural and Social Sciences, a private institution in Lublin where
he is currently Dean of Social Science; has published The Novel as
Performance: The Fiction of Ronald Sukenick and Raymond Federman
(Southern Illinois University press, 1986), two books on john cage (in
polish, 1993, 1997), and over 60 articles on American literature, history,
popular culture, and art; was an ACLS fellow at the University of
Wisconsin-Milwaukee in 1985-86, a Fulbright Fellow at Stanford University
and San Diego State University in 1991-92, and a fellow at the Gilder
Lehrman Institute of American History, New York, in 2000; has taught at the
University of Joensuu, Finland, and the University of Canterbury, New
Zealand, and has presented papers in the Czech Republic, Romania, Sweden,
Germany, France, Switzerland, the United States, Hong Kong, and China;
between 1966-2002 was a member of the board of the European Association of
American Studies; between 2000-2003 was an international contributing editor
of the Journal of American History; in 1993 was a co-organizer of
‘the days of silence,’ a john cage Festival at the Center for Contemporary
Culture in Warsaw; was the initiator, in 1998, of the Pulawy seminars in
American Studies for teacher trainers from Eastern-Central Europe.
“African
Americans in the Visual Arts”
This
presentation offers an overview of the most important developments in the
history of African American art. The lecture is illustrated with projections
of the most important works of leading artists.
Dr. Heike
Raphael-Fernandez
Department of English
University
of Maryland in Europe
Dr. Heike
Raphael-Hernandez
is Professor of English at the University of Maryland in Europe. Her most
recent publication, AfroAsian Encounters: Culture, History, Politics,
co-edited with Shannon Steen, will be published by New York University Press
in fall 2006. She is editor of Blackening Europe: The African American
Presence (Routledge 2003). Among her other publications are Holding
Their Own: Perspectives on the Multi-Ethnic Literatures of the United
States (Stauffenburg Verlag 2000), co-edited with Dorothea Fischer-Hornung,
and several articles on contemporary African American writers, African
American youth culture, and the Vietnam War and its legacy in African
American literature. Her current research interests include not only hip hop
‘street’ literature, but also women, war and (post)-trauma.
”Gazing at the Ghetto: The
Emergence of Hip Hop ‘Street’ Fiction”
In Richard
Wright’s Native Son, Bigger Thomas has to drive his multimillionaire
employer’s daughter, Mary Dalton, and her communist boyfriend, Jan, to his
neighborhood. As Mary expresses, she has that tremendous desire to see for
herself how people like Bigger live. She tells him:
I ‘ve long
wanted to go into these houses and just see how your people live […]
I’ve been to England, France, and Mexico, but I don’t know how people live
ten blocks from me. We know so little about each other. I just want
to see. I want to know these people. Never in my life have I
been inside of a Negro home. Yet they must live like we live. They’re
are human…. There are twelve million of them…. They live in our
country…. In the same city with us. (Wright 69-70)
In the
1940s, Mary’s voyeuristic, white gaze eventually costs her life. Yet, six
decades later, she would be alive because today she would be able to gaze
safely at ghetto life by reading books. In recent years a new genre in
African American literature, hip-hop lit, also called ghetto lit, street lit
or urban lit, has appeared. In these hip hop street tales, readers “watch”
young African
Americans in their daily, often brutal fight to make it in the ghetto.
Typical for the majority of these authors is their autobiographical
background. Most either grew up in the hood or they know the hood from their
work with the community, as has been the case with author Sister Souljah.
Some have their own experience with jail. Victoria M. Stringer, for example,
wrote her semi-autobiographical novel, Let That Be the Reason (2001),
while serving a 7-year prison term.
Any
discussion of this new genre has to acknowledge that hip-hop street lit is
problematic in several regards. In general, hip-hop has been accused of
glorifying violence, crime, gender degradation, and consumer capitalism, and
its literature seems not to differ. In addition, the sudden popularity of
hip-hop street lit and the relative ease of self-publishing have caused many
new authors to ride on that fast cash wave. It is indeed impossible to
compile a list of authors, as they seem to be born on a weekly basis. Such
an explosion of popularity has caused hastily written and thrown-together
books as the books sell regardless of good stylistic, editorial and
production quality. Furthermore, several mainstream publishers that at first
turned down manuscripts as ‘too ghetto’ have now discovered the financial
beauty of ‘ghetto flavor’ and have offered contracts to initially
self-publishing authors. Their involvement allows now outsiders like Mary
Dalton to ‘gaze’ en masse.
Until recently, academics have largely ignored this new expression of
African American writing as they consider it pulp fiction. Some critics
consider the fiction’s only advantage its potential to perhaps lure young
people to Morrison via ghetto lit. I would argue, however, that the new
hip-hop street lit is not only good for the idea that finally “reading
becomes an important part” of certain young people’s lives as a Black
Issues article claims, but fits well into the continuous tradition of
African American autobiographical writing.
Dr. Lillian S. Williams
Department of African American Studies
University of Buffalo, the State University of New
York
Dr. Lillian S. Williams
is Associate Professor and chair of the Department of African American
Studies at the University of Buffalo, the State University of New York. A
specialist in United States social and urban history, Dr. Williams’ research
is in the areas of institutions, ethnicity, biography, and women’s history.
Her research includes social institutions such as the Young Men’s and Young
Women’s Christian Associations and the National Urban League; Jewish club
women; she is working on a biography of Mary Burnett Talbert, an early
twentieth century reformer.
Lillian Williams served as historian
consultant on several history projects including the New York State Museum’s
permanent exhibition
"Black Capital: Harlem in the 1920s."
Williams edited the microfilm edition of the Records of the National
Association of Colored Women’s Clubs, the oldest secular, African
American organization in existence today; she is associate editor of the
sixteen volume series Black Women in American History. She also is an
associate editor of The Encyclopedia of New York State. The author
of dozens of articles, Dr. Williams also published Strangers in the Land
of Paradise from Indiana University Press in 1999; it was reissued in
paperback in 2000. Professor Williams was selected as a fellow for the
National African American Women’s Leadership Institute Class of 2001.
“Bridges across the Nations: Club Women Activists, Cultural Bearers, and
Community Builders”
This paper will focus upon the National
Association of Colored Women’s and African American club women, such as Mary
Burnett Talbert, who have played key roles in preserving their culture and
creating and preserving their communities.
Dr. Magdalena J.
Zaborowska
Program in American
Culture and Center for Afroamerican and African Studies,
University of Michigan,
Ann Arbor
Dr.
Magdalena J. Zaborowska
holds an MA degree from Warsaw University in Poland (1987) and a Ph.D. from
the University of Oregon (1992) in the United States. Her research interests
include migrant ethnicities, feminist and race theory, and spatial politics
of race, nationality, sexuality, and gender in a transatlantic context. She
has taught and been a visiting scholar at the University of Oregon, Furman
University, Aarhus University in Denmark, Tulane University, and the
University of Michigan, where she is currently associate professor in the
Program in American Culture and the Center for Afroamerican and African
Studies. Her published books include: How We Found America: Reading
Gender through East European Immigrant Narratives (University of North
Carolina Press, 1995) and edited collections, Other Americans, Other
Americas: The Politics and Poetics of Multiculturalism (Aarhus
University Press, 1998), The Puritan Origins of American Sex: Religion,
Sexuality, and National Identity in American Literature (Routledge,
2001), and Over the Wall/After the Fall: Post-Communist Cultures in the
East-West Gaze (Indiana University Press, 2004). Her current project is
entitled, Erotics of Exile: James Baldwin’s Turkish Decade.
“African
Americans in Unexpected Places. James Baldwin’s Turkish Decade.”
This
talk employs the results of on-site research and interviews with James
Baldwin’s friends and biographers, who witnessed and recorded his life in
Istanbul, Turkey, where the writer spent nearly a decade and wrote some of
his most important works. Although this part of Baldwin’s life is virtually
unknown to most of his critics and readers, it is vital for understanding
his contribution to American literature in general and his complex
theorization of (African) American transatlantic national identity in
particular. The talk intersperses original visuals (film and photography),
local oral histories, the author’s letters, and popular Turkish press
representations that refer to Baldwin’s locations, his activities as an
intellectual/activist, and his persona as the world-famous African American
writer of the 1960’s and ‘70s. These representations of Baldwin’s (African)
Americanness in the Muslim setting of Turkey reflect the fact of American
imperial omnipresence across the Atlantic, what Baldwin refers to in the
soundtrack to Sedat Pakay’s film about his stay in Istanbul (“James Baldwin:
From Another Place,” 1970-73) as, “the trouble probably is that …what is
happening there [in America] is going to affect the world much more than
what happens in any other country at this point in the world’s history.
Because so much has been invested in terms of human hope in America, and
it’s been such a legend for so long.”
Contact:
DR EWA ŁUCZAK, Nowy Świat 4, 00-497
Warszawa, Poland , tel. +48 22 553 14 19,
email: e.b.luczak@uw.edu.pl; or,
DR ANDRZEJ ANTOSZEK, Al. Raclawickie 14, 20-950 Lublin, Poland, tel. +48 81
4453941, email: antoszek@kul.lublin.pl.
