Undergraduate Course Offerings 2021-2022

Course listings as of: August 31, 2021 Please refer to the publish date at the bottom of this page and use the following links to check for new and updated courses.

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Publish date and time: August 31, 2021 | 10:22 am Accreditation ...... 2 Politics ...... 119 Remote and Hybrid Courses ...... 3 Practicum ...... 123 The Curriculum ...... 5 Psychology ...... 124 Africana Studies ...... 5 Public Policy ...... 135 Anthropology ...... 6 Religion ...... 136 Architecture and Design Studies ...... 10 Russian ...... 140 Art History ...... 11 and Mathematics ...... 141 Asian Studies ...... 16 Pre-Health Program Biology ...... 20 Social Science ...... 142 Chemistry ...... 24 Sociology ...... 142 Chinese ...... 26 Spanish ...... 145 Classics ...... 27 Theatre ...... 148 Cognitive and Brain Science ...... 27 Urban Studies ...... 162 Computer Science ...... 28 Visual and Studio Arts ...... 163 Dance ...... 31 Writing ...... 174 Development Studies ...... 36 Graduate Courses Open to Advanced Economics ...... 37 Undergraduate Students ...... 185 Environmental Science ...... 40 Faculty ...... 191 Environmental Studies ...... 41 Ethnic and Diasporic Studies ...... 43 Film History ...... 45 Filmmaking and Moving Image Arts ...... 48 French ...... 57 and Sexuality Studies ...... 59 Geography ...... 61 German ...... 64 Greek (Ancient) ...... 65 Health, Science, and Society ...... 65 History ...... 67 International Studies ...... 78 Italian ...... 79 Japanese ...... 81 Latin ...... 81 Latin American and Studies ...... 82 , , Bisexual, and Studies ...... 83 Literature ...... 85 Mathematics ...... 97 Middle Eastern and Islamic Studies ...... 99 Modern and Classical Languages and Literatures ...... 100 Music ...... 100 New Genres and Interactive Art ...... 112 Philosophy ...... 112 Physics ...... 116 Political Economy ...... 118 Sarah Lawrence College is accredited by the Middle States Association and the New York State Education Department.

The following programs are registered by the New York State Education Department* for the degrees listed (registration number in parentheses). Enrollment in other than registered or otherwise approved programs may jeopardize a student’s eligibility for certain student-aid awards.

Program Degree Awarded

Liberal Arts (4901) BA Anthropology (2202) BA Art History (1003) BA Asian Studies (0301) BA Biology (0401) BA Chemistry (1905) BA Classics (1504) BA Dance (1008) BA Economics (2204) BA Film History and Filmmaking (1010) BA French (1102) BA History (2205) BA Literature (1599) BA Mathematics (1701) BA Modern Language and Literature (1101) BA Music (1004) BA Philosophy (1509) BA Politics (2207) BA Premedical (4901) BA Psychology (2001) BA Religion (1510) BA Sociology (2208) BA Theatre (1007) BA Women’s Studies (2299) BA Writing (1507) BA Art of Teaching (0802) MSEd Child Development (2009) MA Dance (1008) MFA Dance Movement Therapy (1099) MS Health Advocacy (4901) MA Human (0422) MS Theatre (1007) MFA Women’s History (2299) MA Writing (1507) MFA

* New York State Education Department Officef o Higher Education and the Professions Cultural Education Center, Room SB28 Albany, New York 12230 (518) 474-5851 REMOTE AND HYBRID COURSES Media Design for Digital Performance (p. 160) Theatre Explorations in the Poetic Voice (p. 183), Dennis Nurkse During the 2021-22 academic year, Sarah Lawrence will Writing offer a limited number of remote and hybrid options for The Rules—and How to Break Them: A Prose Process students who may be unable to return to in-person Class (p. 177), Nelly Reifler Writing instruction due to the COVID-19 pandemic. All Sarah Lawrence students are eligible to enroll in these courses, Hybrid (Remote/In-Person) but priority will be given to those who cannot live on nor Hybrid courses include both online and in-person commute to campus. elements. Since different disciplines lend themselves to different approaches, and different faculty members Entirely Remote teaching hybrid courses will incorporate in-person and Remote courses are conducted entirely online, including remote elements differently, students need to use the conferences, group conferences, etc. While students registration process, including pre-interview materials as enrolled remotely will be given priority for these classes, well as interviews, to clarify what a particular hybrid space permitting, students studying in-person may also course will entail. Again, while students enrolled remotely enroll. All aspects of this course will take place online will be given priority for these classes, space permitting, whether students are enrolled on campus or remotely. students studying in-person may also enroll.

Critical Landscapes of the Atlantic World (p. 14), Alex The Art and Craft of Pitching for Film and Television (p. 51), Moore Art History Heather Winters Filmmaking and Moving Image Arts First-Year Studies: Working USA: American Workers in the Creative Producing: The Role of the Producer in Film and Globalized Political Economy (p. 37), Kim Christensen Television (p. 50), Heather Winters Filmmaking and Economics Moving Image Arts Introduction to Economic Theory and Policy (p. 38), Kim Screenwriting: Tools of the Trade (p. 55), K. Lorrel Manning Christensen Economics Filmmaking and Moving Image Arts The Animal (p. 42), Kate Zambreno Environmental Studies Liberations: Contemporary Latin America (p. 73), Margarita Body, Gesture, Cinema (p. 45), Seth Watter Film History Fajardo History Advanced Beginning French (p. 59), Fredrik Roennbaeck Neoliberalism (p. 75), Margarita Fajardo History French International Law (p. 69), Mark R. Shulman History Class, Race, Gender, Work: Readings in US Labor Human Rights (p. 69), Mark R. Shulman History History (p. 70), Priscilla Murolo History The Art of Indetermination: Eastern Praxis in Dialogue With The Marriage Plot: Love and Romance in American and Feminist and Postcolonial Thought (p. 88), Una English Fiction (p. 89), Nicolaus Mills Literature Chung Literature The Animal (p. 86), Kate Zambreno Literature An Introduction to Statistical Methods and Analysis (p. 97), The Forms and Logic of Comedy (p. 86), Fredric Smoler Daniel King Mathematics Literature Theory I: Materials of Music (p. 105), Paul Kerekes, Bari Classic American Literature: The 19th Century and Its Mort Music Rebels (p. 91), Nicolaus Mills Literature Theory II: Basic Tonal Theory and Composition (p. 105), The Music of What Happens: Alternate Histories and Paul Kerekes, Patrick Muchmore Music Counterfactuals (p. 95), Fredric Smoler Literature Foundations in Workplace Culture and Well-Being (p. 123), History Plays (p. 92), Fredric Smoler Literature Meghan Jablonski Practicum Survey of Western Music (p. 107), Carsten Schmidt Music SLCeeds: Idea Launch (p. 124), Roger Osorio Practicum Words and Music (p. 108), Carsten Schmidt Music Building a Professional Identity (p. 124), Meghan Jablonski Words and Music (p. 102), Carsten Schmidt Music Practicum Advanced Theory: Advanced Tonal Theory and The Qur’an and Its Interpretation (p. 139), Kristin Zahra Analysis (p. 105), Carsten Schmidt Music Sands Religion Baroque Ensemble (p. 110), Carsten Schmidt Music Storytelling and Spirituality in Classical Islam (p. 138), Philosophy with/for Children (p. 112), Keren Sadan Kristin Zahra Sands Religion Philosophy Advanced Intermediate Spanish: Political Play and Imagination (p. 128), Anna Beresin Psychology Creativity (p. 146), Heather Cleary Spanish Social Development (p. 128), Carl Barenboim Psychology Literatures From the Spanish-Speaking World: Poetry and Moral Development (p. 133), Carl Barenboim Psychology the Short Story (p. 147), Eduardo Lago Spanish The Sociology of Sports (p. 144), Shahnaz Rouse Sociology Literatures From the Spanish-Speaking World: The Both Public and Private: The Social Construction of Family Novella (p. 147), Eduardo Lago Spanish Life (p. 143), Shahnaz Rouse Sociology Methods of Civic Engagement (p. 154), Allen Lang Theatre Home as a Metaphor for Survival: Theatre in the African Diaspora (p. 153), Sifiso Mabena Theatre Digital Imaging Studio (p. 169), Shamus Clisset Visual and Studio Arts 3D Modeling (p. 169), Shamus Clisset Visual and Studio Arts Edgy Memoirs (p. 180), Mary Morris Writing The Short Story: Explorations (p. 178) Writing The Rules—and How to Break them: A Prose Process Class (p. 178), Nelly Reifler Writing THE CURRICULUM 5 Children in Imperial Projects (p. 8), Mary A. Porter THE CURRICULUM Anthropology Faking Families (p. 8), Mary A. Porter Anthropology The Curriculum of the College as planned for 2021-2022 is Black England: From Tudors to Two-Tone (p. 9), Mary A. described in the following pages; as our plans continue to Porter Anthropology evolve in response to the coronavirus, we will update this Global Modernism, Internationalism, and the : document regularly. 1930s, 1960s, 1990s (p. 13), Gemma Sharpe Art History All courses are planned as full-year courses, except as Global Literature: Dystopias and Hope (p. 18), otherwise indicated. Where possible, seminar descriptions Shoumik Bhattacharya Asian Studies include examples of areas of study in which a student West African Dance (p. 32), Lacina Coulibaly Dance could concentrate for the conference portion of the Hip-Hop (p. 32), Matthew Lopez Dance course. In a seminar course, each student not only pursues First-Year Studies: Working USA: American Workers in the the main course material but also selects a related topic Globalized Political Economy (p. 37), Kim Christensen for concentrated study, often resulting in a major paper. In Economics this way, each seminar becomes both a shared and an Intermediate French I (Section I): Contemporary French individual experience. and Francophone Culture (p. 57), Eric Leveau French Food, Agriculture, Environment, and Development (p. 61), Joshua Muldavin Geography Introduction to Development Studies: The Political Ecology AFRICANA STUDIES of Development (p. 62), Joshua Muldavin Geography The Rise of the New Right in the United States (p. 62), Africana studies at Sarah Lawrence College embrace a Joshua Muldavin Geography number of scholarly disciplines and subjects, including First-Year Studies: Literature, Culture, and Politics in US anthropology, architecture, art history, dance, economics, History (p. 67), Lyde Cullen Sizer History film, filmmaking, history, Islamic studies, law, literature, Rethinking Malcolm X, Black Panthers, and Young Lords: A philosophy, politics, psychology, religion, sociology, Radical Historiography (p. 68), Komozi Woodard theatre, and writing. Students examine the experience of History Africans and people of African descent in the diaspora, The Strange Career of the Jim Crow North: African including those from Latin America, the Caribbean, North American Urban History Since the Atlantic Slave America, and beyond. Study includes the important Trade (p. 70), Komozi Woodard History cultural, economic, technological, political, and social Class, Race, Gender, Work: Readings in US Labor intellectual interplay and exchanges of these peoples as History (p. 70), Priscilla Murolo History they help make our world. Social Protest and Cultural Critique: A Cultural and Students will explore the literature of Africans and Intellectual History of the United States (p. 70), Lyde peoples of African descent in various languages, including Cullen Sizer History Spanish, Portuguese, French, and English. The dynamics of Nationalism (p. 71), Matthew Ellis History immigration and community formation are vital in this Revolutions in Cuba: Local Origins, Global Fault field. Students will examine the art and architecture of Lines (p. 72), Jesse Horst History Africans and the diaspora, along with their history, Reconstructing Womanhood I: Writers and Activists in the societies, and cultures; their economy and politics; the United States, 1830–1930 (p. 73), Lyde Cullen Sizer impact of Islam and the Middle East; the processes of History slavery; the slave trade and colonialism; and postcolonial Gendered Histories of Sickness and Health in Africa (p. 74), literature in Africa, Latin America, and the Caribbean. The Mary Dillard History program also includes creative work in filmmaking, Decolonization and the End of Empire (p. 75), Matthew Ellis theatre, and writing. History At Home in Another Country: Afropean Communities in the Courses offered in related disciplines this year are listed 20th Century–21st Century (p. 76), Kishauna Soljour below. Full descriptions of the courses may be found under History the appropriate disciplines. Reconstructing Womanhood II: Writers and Activists in the Ethnographic Research and Writing (p. 7), Robert R. United States, 1930–1990 (p. 76), Lyde Cullen Sizer Desjarlais Anthropology History Telling Lives: Life History in Anthropology (p. 7), Mary A. Gender, Education, and Opportunity in Africa (p. 77), Mary Porter Anthropology Dillard History Crime, Punishment, and Freedom in African American Literature (p. 91), Elias Rodriques Literature 6 Anthropology Conscience of the Nations: Classics of African advocacy, medical systems, cities, modernity, and/or Literature (p. 92), William Shullenberger Literature social organization across a range of Western and non- Cold War Black (p. 93), Elias Rodriques Western settings, students come to better understand Literature how meaning is made. With seminar dynamics and Global Queer Literature: Dystopias and Hope (p. 93), content characteristic of graduate-level work, Sarah Shoumik Bhattacharya Literature Lawrence’s anthropology courses take students in often African American Poetry After Emancipation (p. 95), Elias unexpected and challenging directions. Rodriques Literature Ralph Ellison’s Invisible in Context (p. 95), Elias First-Year Studies: The Anthropology Rodriques Literature of Images Existentialism (p. 113), Roy Ben-Shai Philosophy Robert R. Desjarlais Critical Race Theory: Philosophical Perspectives (p. 113), Open, FYS—Year | 10 credits Carmen De Schryver Philosophy A handful of cartoons lead to cataclysmic events in Women Philosophers in the 20th and 21st Europe; a man’s statement that he “can’t breathe” Centuries (p. 113), Roy Ben-Shai Philosophy ricochets across North America; a photograph reflects Decolonizing Philosophy (p. 114), Carmen De Schryver phenomena of time; a snapshot posted on the internet Philosophy leads to dreams of fanciful places; memories of a past year African States in the International System: Imperialism, haunt us like ghosts. What each of these occurrences has Resistance, Development, Intervention (p. 120), Elke in common is that they all entail the force of images in our Zuern Politics lives, whether those images are visual or acoustic in International Perspectives on Psychology (p. 126), , made by hand or machine, circulated by word of Christopher Hoffman Psychology mouth, or vividly imagined. In this seminar, we will Crossing Borders and Boundaries: The Social Psychology of consider the role that images play in the lives of people in Immigration (p. 127), Gina Philogene Psychology various settings throughout the world. In delving into Urban Health (p. 130), Linwood J. Lewis Psychology terrains at once actual and virtual, we will develop an Emerging Adulthood (p. 133), Linwood J. Lewis Psychology understanding of how people throughout the world create, The Sociology of Sports (p. 144), Shahnaz Rouse Sociology use, circulate, and perceive images and how such uses and Diversity and Equity in Education: Issues of Gender, Race, perceptions tie into ideas and practices of sensory and Class (p. 190), Nadeen M. Thomas Women's perception, time, memory, imagination, sociality, history, History politics, and personal and collective imaginings. Through Edgy Memoirs (p. 180), Mary Morris Writing these engagements, we will reflect on the fundamental human need for images, the complicated politics and ANTHROPOLOGY ethics of images, aesthetic and cultural sensibilities informing the creation and reception of images, dynamics The study of anthropology traditionally covers four fields: of time and memory, the intricate play between the actual sociocultural anthropology, linguistic anthropology, and the imagined, and the circulation of digital images in biological anthropology, and archaeology. At Sarah an age of globalization. Readings will include a number of Lawrence College, we concentrate on sociocultural and writings in anthropology, art history, philosophy, linguistic anthropology. psychology, cultural studies, visual studies, and critical Behind almost every aspect of our lives is a cultural theory. Images will be drawn from photographs, drawings, realm, a shared construction that shapes assumptions and paintings, sculptures, films, videos, graffiti,eligion, r determines much of how we perceive and relate to the rituals, tattoos, inscriptions, novels, poems, storytellers, world. Sociocultural anthropology is the study of that road signs, advertisements, dreams, fantasies, phantasms, realm—its extent and its effects. As students learn to and any number of fabulations evident in the worlds in approach with an anthropological eye what they formerly which we live and imagine. Students will be encouraged, might have taken for granted, they gain insight into how both in class and in conference, to undertake individual social forces govern the ways in which we relate to and collaborative work related to their creative and ourselves and to each other: how we use words, how we intellectual interests. This course will have weekly define ourselves and others, how we make sense of our conferences for the first six weeks; biweekly conferences bodies, even how we feel emotions. Through examining the thereafter. writings of anthropologists, viewing ethnographic films, and discussing these and other materials in seminar and conference sessions, students develop a comprehensive and multipatterned sense of the cultural dimensions of human lives. By studying the underpinnings of language, symbolic practices, race, gender, sexuality, policy and THE CURRICULUM 7 Ethnographic Research and Writing does a unique family role influence the formation of identity for Latinx youth in the United States? Adopting an Robert R. Desjarlais interdisciplinary approach, our course material will draw Advanced, Seminar—Year | 10 credits from developmental psychology, human development, Javanese shadow theatre, Bedouin love poems, and cultural psychology, and psychological anthropology and American community life are but a few of the cultural will include peer-reviewed journal articles, books, and realities that anthropologists have effectively studied and films that address core issues in a range of geographic and written about. This is no easy task, given the substantial sociocultural contexts. Students will conduct conference difficulties vin olved in understanding and portraying the projects related to the central topics of our course and concerns, activities, and lifeworlds other than one’s own. may opt to do fieldwork at the Early Childhood Center. Despite those challenges, ethnographic research is generally considered one of the best ways to form a nuanced and contextually rich understanding of a Telling Lives: Life History in particular social world. To gain an informed sense of the Anthropology methods, challenges, and benefits of just such an Mary A. Porter approach, students in this course will try their hands at Open, Seminar—Fall | 5 credits ethnographic research and writing. In the fall semester, Through studying life-history narratives (one person’s life each student will be asked to undertake an ethnographic as narrated to another), autobiographical memoir, archival research project in order to investigate the features of a documents, and more experimental forms in print and on specific social world, such as a homeless shelter, a screen, we will explore the diverse ways that life courses religious festival, or a neighborhood in Brooklyn. In the are experienced and represented. Throughout our spring, she or he will craft a fully realized piece of readings, we will carefully examine the narratives ethnographic writing that conveys something of the themselves, paying attention to the techniques of life- features and dynamics of that world in lively, accurate, and history construction and familiarizing ourselves with comprehensive terms. Along the way, and with the help of ethical, methodological, and theoretical challenges. We anthropological writings that are either exceptional or will consider a number of questions about telling lives: experimental in nature, we will collectively think through What is the relationship between the narrator and his or some of the most important features of ethnographic her interlocutor(s)? How does a life-history approach projects, such as interviewing others, the use of fieldnotes, inform debates about representation? What can the the interlacing of theory and data, the role of dialogue and account of one person’s life tell us about the wider culture the author’s voice in ethnographic prose, and the ethnical of which he or she is a part? How can individual life and political responsibilities that come with any attempt narratives shed light on issues such as poverty, sexuality, to understand and portray the lives of others. Prerequisite: colonialism, disability, racism, and aging? The selected Previous course work in anthropology or sociology texts attend to lives in various parts of the world, including Australia, Great Britain, the Caribbean, East Africa, and the Childhood Across Cultures United States. Students will also analyze primary sources Deanna Barenboim and create a life history as part of their work for the Open, Seminar—Fall | 5 credits course. In this seminar, we will explore child and adolescent development through a cross-cultural lens. Focusing on Immigration and Identity case studies from diverse communities around the world, Deanna Barenboim we will look at the influence of cultural processes on how Sophomore and Above, Seminar—Fall | 5 credits children learn, play, and grow. Our core readings will This course asks how contemporary immigration shapes analyze psychological processes related to attachment individual and collective identity across the life course. and parenting, cognition and perception, social and Adopting an interdisciplinary approach that bridges cross- emotional development, language acquisition, and moral cultural psychology, human development, and development. We will ask questions like the following: Why psychological anthropology, we will ask how people’s are children in Sri Lanka fed by hand by their until movement across borders and boundaries transforms middle childhood, and how does that shape their relations their sense of self, as well as their interpersonal relations to others through the life course? How does an Inuit and connections to community. We will analyze how the toddler come to learn moral lessons through scripted play experience of immigration is affected by the particular with adults, and how does such learning prepare them to intersections of racial, ethnic, class, gender, generational, navigate a challenging social and geographic and other boundaries that immigrants cross. For example, environment? Is it true that Maya children don’t do how do 1.5-generation undocumented youth navigate the pretend play at all? How does parental discipline shape constraints imposed by “illegalized” identities, and how do the expression of emotion for children in Morocco? How 8 Anthropology they come to construct new self-perceptions? How might metropolitan orphanages as children. In our intellectual immigrants acculturate or adapt to new environments, and explorations, we will deploy approaches from sex-gender how does the process of moving from home or living “in studies, postcolonial studies, and critical race theory. between” two or more places impact mental health? Questions that we will explore include: Why did settler Through our close readings and seminar discussions on authorities in Australia kidnap mixed-race indigenous this topic, we seek to understand how different forms of children and put them in boarding schools when such power—implemented across realms including state- children in other colonies were expected to stay with their sponsored surveillance and immigration enforcement, local mothers out of sight of the settlers? How did language and educational policy, health and social European ideas about climate and race frame the ways in services—shape and constrain immigrants’ understanding which settler children were nursed in the Dutch East of their place in the world and their experience of Indies? How did concepts of childhood and parental rights exclusion and belonging. In our exploration of identity, we over children vary historically, socioeconomically, and will attend to the ways in which immigrants are left out of geographically? How did metropolitan discourses about national narratives, as well as the ways in which people race, class, and evolution frame the treatment of indigent who move across borders draw on cultural resources to children at home and abroad? The materials for this class create spaces and practices of connection, protection, and include fiction, memoirs, scholarly texts, ethnographic continuity despite the disruptive effects of immigration. In accounts, historical documents, and visual images. tandem with our readings, we will welcome scholar/ activist guest speakers, who will present their current Faking Families work in the field. Mary A. Porter Open, Seminar—Spring | 5 credits Children in Imperial Projects In her study of transnational adoptees, Eleana Kim noted Mary A. Porter the profound differences between discourses about the Sophomore and Above, Seminar—Fall | 5 credits immigration of Chinese brides to the United States and At the close of the 1920s, a Miss Wilson presented a paper those describing the arrival of adopted Chinese baby : at a London conference addressing, “The Education of the former with suspicion and the latter with joy. Two ways European Children in Contact With Primitive Races.” In her that families form are by bringing in spouses and by having talk, she described the life of rural white Kenyan settler children. We tend to assume that family-building involves children growing up with African playmates and expressed deeply personal, intimate, and even “natural” acts; but, in her concerns about the morally deleterious effects of such actual practice, the pragmatics of forming (and play on these future imperial leaders. This particular case disbanding) families are much more complex. There are illustrates discourse about the role of privileged white many instances where biological pregnancy is not possible children in imperial regimes; but children of diverse social or not chosen, and there are biological parents who are classes, races, and nationalities across the globe were all unable to rear their offspring. Social rules govern the implicated in processes of imperial expansion and acceptance or rejection of children in particular social European settler colonization over (at least) the past three groups, depending on factors such as the marital status of centuries. What was believed about children, done to their parents or the enactment of appropriate rituals. children, and required of children was central to the Western notions of marriage prioritize compatibility success of imperial projects. In this seminar, we will between two individuals, who choose each other based on examine a series of cases to understand the diverse roles, love; but, in many parts of the world, selecting a suitable both intentional and unintentional, of children in imperial spouse and contracting a marriage is the business of processes. In addition to the white sons and daughters of entire kin networks. There is great variability, too, in what European settler colonists in Africa and , constitutes “suitable.” To marry a close relative or we will look at the contrary things that were said and done someone of the same gender may be deemed unnaturally about mixed-race children (and their mothers and close in some societies; but marriage across great fathers) at different historical and political moments of difference such as age, race, nation, culture, or class can empire. We will learn, too, about the deployment of also be problematic. And beyond the intimacies of couples “orphans” in the service of empire. In the metropole, and the interests of extended kin are the interests of the particularly British cities, orphan boys were funneled into nation state. This seminar, then, examines the makings the military and merchant navy, while children of both and meanings of kinship connections of parent and spouse sexes were shipped across the globe to boost white settler at multiple levels, from small communities to global populations, provide free labor, and relieve English poor- movements. houses of the responsibility of taking care of them. The ancestors of many contemporary citizens of Canada, Australia, and South Africa were exported from THE CURRICULUM 9 Indigenous Mobilities brought into this realm, of which kind of people there are already here to manie…….those kinde of people should be Deanna Barenboim sente forth of the land.” A common myth about England is Sophomore and Above, Seminar—Spring | 5 credits that it was a homogeneously white nation until Jamaicans Indigeneity, by definition, calls into play complex relations and South Asians emigrated to Britain after World War II. to place. In this course, we will address contemporary Another myth is that there were no slaves held in England. Native American and indigenous experience, politics, and As the above quotation indicates, free Black people were imaginaries across the Americas by exploring questions of already settled there in the 16th century; and they were place, as well as migration and movement. How might our already the object of scapegoating for increasing poverty notions of indigenous peoples and cultures shift if we in the land at that time. The 17th century brought African consider migration and mobility as central to indigenous slaves to England and, by the 19th century, the great ports life? How are connections to ancestral territories and of London, Bristol, and Liverpool were populated by West homelands implicated in, or altered by, the increasingly Africans (free and unfree); Lascars (Muslim sailors from globalized world we inhabit, and what are the politics at east of the Cape of Good Hope); and seamen from stake? Our central readings of recent ethnographic texts Shanghai and Guangzhou, who created the first European and case studies will explore a range of experiences, China Town in the London Docks. In this class, we will including: 1) the transborder lives of migrants from Mexico investigate the multiracial nature of England from the (Oaxaca), Peru, and Ecuador who are living in California, Tudor era to the late 20th century. We will consider Oregon, and New York and the intersections of temporal moves between free and unfree lives and the role immigration status, labor exploitation, ethnic/racial of free Africans in the abolition movement. Articulations of identity, and technological change; 2) the links between race, gender, and sexuality will be central, particularly as incarceration and detention, vulnerability, and various they play out in family formations and economic activities. forms of gendered and racial violence that shape We will wrestle with the absence of people of color in indigenous women’s lives across borders, including the discourses about the English past and with contemporary lives of Guatemalan women crossing into the Southern constructions of racist stereotypes, such as the 19th- United States in the past decade; 3) questions of century trope of the Chinese opium den. Finally, we will sovereignty, rights, and recognition for the Mohawk engage with cultural explosions in music (reggae, ska, Nation, whose ancestral lands span the settler colonial two-tone), film (Young Soul Rebels, Bend it Like Beckham, borders of the United States and Canada; and 4) Native The Stuart Hall Project), and literature (Fathima Zahra, American hubs created in unexpected places, like Silicon Aizaz Hussain, Paul Gilroy) created by second- and third- Valley, that form the basis for resistance, community, and generation children of Commonwealth immigrants, justice for indigenous people in urban centers. Our particularly as they articulate with antiracism movements. readings center the experiences and perspectives of Our hands-on class materials will be multidisciplinary indigenous peoples, with special attention to works (anthropology, history, literature) and multimedia, with a written by indigenous scholars. In all of our readings about particular focus on visual images, audio, maps, and indigeneity on the move, we will invoke notions of archival documents. borderlands and boundaries and explore forms of geographic, social, and virtual mobilities and their intersections with race, legal identity, and claims to space Courses offered in related disciplines this year are listed and place. We will look at the new forms of mobility below. Full descriptions of the courses may be found under evidenced by recent indigenous transnational migration, the appropriate disciplines. as well as the histories of chosen and forced movement, First-Year Studies: Masterworks of Art and Architecture of displacement, dispossession, and intergenerational the Western Tradition (p. 11), Jerrilynn Dodds Art trauma and that shape the Native American History experience. Students may do conference work related to Romanesque and Gothic Art: Castle and Cathedral at the any aspect of Native American and indigenous studies; Birth of Europe (p. 13), Jerrilynn Dodds Art History geographic focus for conference projects is open. Key Paris: A History Through Art, Architecture, and City authors will join us as invited speakers to discuss their Planning (p. 15), Jerrilynn Dodds Art History work. Japan’s Heisei Era (1989–2019): Culture, Society, and Experiences (p. 17), Jesse Bia Asian Studies Black England: From Tudors to Two- Clinical Perspectives: Challenges to Child and Adolescent Tone Development (p. 186), Deanna Barenboim Child Development Mary A. Porter What is Money? Economic and Legal Perspectives (p. 38), Sophomore and Above, Seminar—Spring | 5 credits Jamee Moudud Economics In 1596, Elizabeth Tudor wrote to lord mayors of major English cities that there were “of late divers blackamoores 10 Architecture and Design Studies The Environmental Imagination: Perspectives From the Bad Neighbors: Sociology of Difference, Diversity, and Social Sciences, Environmental Humanities, and the Cosmopolitanism in the City (p. 143), Parthiban Arts (p. 42), Charles Zerner Environmental Studies Muniandy Sociology Virtual Voyages: Travel Cinemas From Silent Film to Social The Sociology of Sports (p. 144), Shahnaz Rouse Sociology Media (p. 47), Tanya Goldman Film History Measuring Difference: Constructing Race, Gender, and Media Lab: Youth Education and Community Ability (p. 144), Adrianna Munson Sociology Engagement (p. 51), Yeong Ran Kim Filmmaking and Site/Situation (p. 168), Gabriela Salazar Visual and Studio Moving Image Arts Arts Food, Agriculture, Environment, and Development (p. 61), The Matter in Material (p. 168), Gabriela Salazar Visual and Joshua Muldavin Geography Studio Arts Introduction to Development Studies: The Political Ecology Art and the Climate Crisis (p. 172), Gabriela Salazar Visual of Development (p. 62), Joshua Muldavin Geography and Studio Arts The Rise of the New Right in the United States (p. 62), Diversity and Equity in Education: Issues of Gender, Race, Joshua Muldavin Geography and Class (p. 190), Nadeen M. Thomas Women's Beginning Greek (p. 65), Emily Anhalt Greek (Ancient) History European Imperialism: Violence, Knowledge, and Migration First-Year Studies: Two Lenses on Writing (p. 174), Myra Since the 19th century (p. 68), Philipp Nielsen History Goldberg Writing Theories at Heart (p. 70), Antonia Carcelén-Estrada Stories and... (p. 178), Myra Goldberg Writing History Intermediate Latin (p. 82), Emily Anhalt Latin ARCHITECTURE AND DESIGN Can This Republic Be Saved? Cautionary Evidence From STUDIES Ancient Rome (p. 88), Emily Anhalt Literature Conscience of the Nations: Classics of African Architecture and design studies at Sarah Lawrence Literature (p. 92), William Shullenberger Literature College is a cross-disciplinary initiative that offers a An Introduction to Statistical Methods and Analysis (p. 97), variety of analytical approaches to the cultural act of Daniel King Mathematics constructing environments, buildings, and aesthetic, yet Global Circulations: Art and Pop Music of Asia (p. 103), functional, objects. Courses in architectural and art Niko Higgins Music history and theory, computer design, environmental Sounding Creativity: Musical Improvisation (p. 103), Niko studies, physics, and sculpture allow students to Higgins Music investigate—in both course work and conference—a wide Decolonizing Philosophy (p. 114), Carmen De Schryver range of perspectives and issues dealing with all facets of Philosophy built design. These perspectives include theoretical Being and Time (p. 115), Roy Ben-Shai Philosophy explorations in history and criticism, formal approaches Crossing Borders and Boundaries: The Social Psychology of that engage sociopolitical issues, sustainable problem- Immigration (p. 127), Gina Philogene Psychology solving, and spatial exploration using both digital and Childhood Across Cultures (p. 128), Deanna Barenboim analog design tools. Psychology Courses of study might include structural Play and Imagination (p. 128), Anna Beresin Psychology engineering in physics and projects on bridge design that Immigration and Identity (p. 131), Deanna Barenboim reflect those structural principles in courses on virtual Psychology architecture and sculpture; the study of the architecture Doing Research With Young People (p. 132), Christopher and politics of sustainability in class and conference work Hoffman Psychology for art and architectural history and environmental The Psychology of Social Influence (p. 134), Gina Philogene studies; and sculpture and art history courses that engage Psychology issues of technology, expression, and transgression in the The Emergence of Christianity (p. 137), Ron Afzal Religion uses of the techniques and crafts of construction. When First-Year Studies: Borders, Nations, and Mobilities: A coordinated with participating faculty, programs of study Sociological Introduction (p. 142), Parthiban offer an excellent preparation for further engagement in Muniandy Sociology the fields of architecture (both theory and practice), Theories of Agency and Action in Science Studies (p. 143), digital and environmental design, and engineering. Adrianna Munson Sociology Sociology of Global Inequalities (p. 143), Parthiban Courses offered in related disciplines this year are listed Muniandy Sociology below. Full descriptions of the courses may be found under Both Public and Private: The Social Construction of Family the appropriate disciplines. Life (p. 143), Shahnaz Rouse Sociology Ethnographic Research and Writing (p. 7), Robert R. Desjarlais Anthropology THE CURRICULUM 11 First-Year Studies: Masterworks of Art and Architecture of ART HISTORY the Western Tradition (p. 11), Jerrilynn Dodds Art History The art history curriculum at Sarah Lawrence College Sursum Corda: Art and Architecture from Michelangelo to covers a broad territory historically, culturally, and the Dawn of the Enlightenment, 1550-1700 (p. 13), methodologically. Students interested in art theory, social Joseph C. Forte Art History art history, or material culture have considerable flexibility Romanesque and Gothic Art: Castle and Cathedral at the in designing a program of study and in choosing Birth of Europe (p. 13), Jerrilynn Dodds Art History conference projects that link artistic, literary, historical, Paris: A History Through Art, Architecture, and City social, philosophical, and other interests. Courses often Planning (p. 15), Jerrilynn Dodds Art History include field trips to major museums, auction houses, and Lighting in Life and Art (p. 36), John Jasperse Dance art galleries in New York City and the broader regional Green Infrastructure (p. 40), Bernice Rosenzweig area, as well as to relevant screenings, performances, and Environmental Science architectural sites. Many students have extended their The Environmental Imagination: Perspectives From the classroom work in art history through internships at Social Sciences, Environmental Humanities, and the museums and galleries, at nonprofit arts organizations, or Arts (p. 42), Charles Zerner Environmental Studies with studio artists; through their own studio projects; or Calculus I: The Study of Motion and Change (p. 98), Philip through advanced-level senior thesis work. Ording, Erin Carmody Mathematics Sarah Lawrence students have gone on to graduate First-Year Studies: The Senses: Art and Science (p. 125), programs in art history at Columbia, Johns Hopkins, Elizabeth Johnston Psychology Northwestern, Bard, Williams, Yale, University of Chicago, Art and Visual Perception (p. 133), Elizabeth Johnston Oxford University, and University of London, among others. Psychology Many of their classmates have pursued museum and Environmental Psychology: An Exploration of Space and curatorial work at organizations such as the Guggenheim Place (p. 133), Magdalena Ornstein-Sloan Psychology Museum, the Metropolitan Museum of Art, and the Art Theories of Agency and Action in Science Studies (p. 143), Institute of Chicago; others have entered the art business Adrianna Munson Sociology by working at auction houses such as Sotheby’s or by Lineages of Utopia (p. 144), Shahnaz Rouse Sociology starting their own galleries; and still others have entered Intermediate Spanish I: Latin American and Spanish Visual professions such as nonprofit arts management and Culture (p. 146), Ximena Venturini Spanish advocacy, media production, and publishing. Architecture Design Studio: Heavy–Light (p. 167), Miku Dixit Visual and Studio Arts First-Year Studies: Masterworks of Architecture Design Studio: Enclosure and Environment (p. 167), Miku Dixit Visual and Studio Art and Architecture of the Western Arts Tradition Site/Situation (p. 168), Gabriela Salazar Visual and Studio Jerrilynn Dodds Arts Open, FYS—Year | 10 credits The Matter in Material (p. 168), Gabriela Salazar Visual and The visual arts and architecture constitute a central part Studio Arts of human expression and experience, and both grow from Art From Code (p. 168), Angela Ferraiolo Visual and Studio and influence our lives in profound ways that we might not Arts consciously acknowledge. In this course, we will explore New Genres: Paranoia as a System (p. 169), Angela intersections between the visual arts and cultural, Ferraiolo Visual and Studio Arts political, and social history. The goal is to teach students Digital Imaging Studio (p. 169), Shamus Clisset Visual and to deal critically with works of art, using the methods and Studio Arts some of the theories of the discipline of art history. This 3D Modeling (p. 169), Shamus Clisset Visual and Studio course is not a survey but will have as its subject a limited Arts number of artists and works of art and architecture, about Experiments in Architectural Drawing and which students will learn in depth through formal analysis, Representation (p. 172), Miku Dixit Visual and Studio readings, discussion, research, and debate. We will Arts endeavor to understand each work from the point of view Art and the Climate Crisis (p. 172), Gabriela Salazar Visual of its creators and patrons and by following the work's and Studio Arts changing reception by audiences throughout time. To New Genres: Abstract Video (p. 173), Angela Ferraiolo accomplish this, we will need to be able to understand Visual and Studio Arts some of the languages of art. The course, then, is also a Photogrammetry (p. 173), Shamus Clisset Visual and course in visual literacy—the craft of reading and Studio Arts interpreting visual images on their own terms. We will also Ecopoetry (p. 182), Marie Howe Writing discuss a number of issues of contemporary concern; for 12 Art History instance, the destruction of art, free speech and respect of Unspeakable, The Architecture of Development and of religion, the art market, and the museum. If health Crisis, Parametrics, and new Pragmatism. Assignments considerations and COVID restrictions allow, students will will involve analytical and critical papers, directed be asked to schedule time on weekends to travel to discussions on close reading of texts, historical context for Manhattan, either on their own or in the College van, to do ideas, and design projects with an imaginative flair—and, assignments at various museums in New York. You will in the spring, designing a “future” or futuristic campus for need several hours for each of these visits and will keep a Sarah Lawrence College in either Shanghai or other major notebook of comments and drawings of works of art. cities by class “firms.” This course complements interests During the fall semester, students will meet with the on urbanism, visual arts, environmental science and instructor weekly for individual conferences; in the spring, studies, literary theory, physics, and, of course, art and we will meet every other week. architectural criticism and history.

First-Year Studies: Problems by East vs. West: Europe, the Design: Theory and Practice in Global Mediterranean, and Western Asia Architecture, 1900 to the Present From Antiquity to the Modern Age Joseph C. Forte David Castriota Open, FYS—Year | 10 credits Open, Lecture—Year | 10 credits This course will involve reading works in philosophy, Historically, competition or conflict between the European theory, criticism, politics, and social analysis that deal or Mediterranean West and the regions of the Middle East with the aesthetic, formal, infrastructural, and has been seen as a struggle between Christian and Muslim sociopolitical questions raised by design strategies, worlds with roots in the era of the Crusades, whose buildings, and utopian or speculative projects. Our focus precedent and implications reach into the present time. will be on methods and movements, such as: While this course will focus extensively on the medieval Enlightenment rationalism and race theory; houses as period, it seeks to do so by situating the relations between machines for living; idealized metastructures; corporate Christian Europe and the Muslim world within a larger and colonial modernisms of the ’50s; new nationalist context as the result of geopolitical patterns that long capitals; blobs; dots and folds; fractal form; fractured antedated the emergence of Christianity or Islam. In the landscapes; datatowns and metacities; ascetic aesthetic/ fall, the course will begin with the Greek invasion of the minimalist consumption; megastructures; themed or Near East under Alexander as a war of retribution for the Theme Park ’80s urbanism; transformational design Persian invasion of Greece more than a century earlier. We grammars; and economic models for sustainable growth/ will consider how the political structure and culture of the development/design, monuments and the unspeakable, multiethnic Hellenistic Greek kingdoms emerged from the political and social remediation. Class will begin with a wreckage of the Persian Empire and how Rome review of previous material through slides discussed by subsequently built on Hellenistic Greek experience and students, then proceed to considerations of readings and conflict with the Near East in establishing its empire. We new material in PowerPoint. Interaction with colleagues is will examine the emergence of Christianity as an example key. Authors will include: Mabel O. Wilson, “Notes on of a Roman or Western response to an originally Eastern [Jefferson’s] Virginia State Capital”; Adolf Loos, Ornament religion and, conversely, the emergence of the Islamic faith and Crime; Le Corbusier, Toward an Architecture; Frank and its new empire as an Eastern challenge to the Lloyd Wright, In the Cause of Architecture; Martin Christianized Roman Empire of Late Antiquity. In the Heidegger, “Building Dwelling Thinking”; Hassan spring, we will see how this approach affords a very Fathy, Architecture For The Poor; Jane Jacobs, The Death different view of the Crusades and the battle for the Holy and Life of Great American Cities; Peter Eisenman, Written Land as the outgrowth of longstanding cultural and Into the Void; Denise Scott Brown and Robert Venturi, political interactions or competitions that transcend Learning From Las Vegas; Rem Koolhaas, Delirious New religious faith and doctrine. The course will look at York and Junkspace; along with Bruce Sterling, Anthony Christian and Muslim cultural relations in Spain and then Vidler, Lavin, and Ma Yansong. Buildings will include close by examining the rise of the Ottoman Turkish Empire, work by major architects, such as: Frank Lloyd Wright, which originated as a Muslim regime in Eastern Europe Mies van der Rohe, Louis Kahn, Tadao Ando, Luis Barragan, and became a major power in Asia only after it had Frank Gehry, Rem Koolhaas, Zaha Hadid, Bjarke Ingels, conquered the remaining symbol of the old Christian Sam Mockbee and Rural Studio, Alejandro Aravena, Wang Roman Empire, Constantinople, in 1453. We will consider Shu, Ma Yansong, Elizabeth Diller, and Jean Gang. primary historical and literary sources, as well as major Movements discussed will include Modernism, Post- artistic monuments. Modernism, Formalism, Situationism, Minimalism, Counter Culture, Green Urbanism, Monuments and the THE CURRICULUM 13 Sursum Corda: Art and Architecture internationalism in institutions like the League of Nations, from Michelangelo to the Dawn of the the United Nations, UNESCO, and the Non-Aligned Movement; to a shift from diplomatic internationalism to Enlightenment, 1550-1700 economic “developmentalism” and “globalization” led by Joseph C. Forte institutions like the World Bank and the IMF; and related Open, Lecture—Year | 10 credits cultural internationalisms promoted by MoMA, the In Annibale Carracci’s painting of St. Margaret (1609), an Rockefeller Foundation, the Venice and São Paulo Early Christian martyr, an altar is inscribed: Sursum Corda Biennales, and even the Stalinist state and Chinese (Lift Up Your Hearts). This course explores what that Communist Party. Lectures will examine topics like meant in the 17th century—for the arts to be a vehicle of Mexican muralism and Rockefeller internationalism; uplift and salvation, a challenge to the supremacy of Négritude and its influence on African postcolonial nature, an analysis of history, and a site of contention, modernisms; the infamous “weaponization” of abstract paradox, and pride for artists and architects. Using expressionism during the Cold War; debates on socialist PowerPoint presentations, class discussion, and papers realism in the Second and Third Worlds; the arrival of focusing on works in the Metropolitan Museum of Art, the postcolonial diasporas to London and Paris and, relatedly, course will cover the art of 16th-century Italy—as that art developments in “calligraphic modernism” spanning from frames the questions that painters, sculptors, and North Africa to East Asia; and finally the proliferation of architects pursued throughout Europe in the 17th century, post-medium and new media strategies around the world commonly called the Age of the Baroque. Included will be toward the end of the century. Taking a chronological studies of major movements in religion, politics, and journey through global modern and contemporary art, the society (Catholic reform and the founding of the Jesuits course focuses on three key decades to examine how Order, the evolution of academic art, the creation of papal artists navigated the shifting pressures and opportunities Rome, the importance of private patronage); issues in of internationalism throughout the 20th century. We will aesthetics and art theory (the transformation of classical ask: How did modern artists think about national identity models, theories of the reception of nature, the links to and nationalism in the colonial and postcolonial periods? poetry, and the dynamics of style); the emergence of the What were the stakes of abstraction versus realism in varying national traditions (the sweet style and Bel different Cold War contexts? Can modernism exist in a Composto in Italy, Calvinist naturalism and the power of totalitarian state? How have “First World” ideologies light in The Netherlands, and high classicism and Bon Gout informed how modernist history has been written in the in France). Focus will also be on careers of artists like past? How are global modernists expanding the canon Titian and the erotics of the brush; Michelangelo and today? And on whose terms? While the course will include transcendent form; Caravaggio and naturalism as the canonical readings on modern and contemporary art from death of painting; Artemisia Gentileschi, biography and the West, we will also read work by thinkers including exemplum; Bernini and the beautiful whole; Rubens and Hannah Arendt and Rabindranath Tagore on nationalism; the multiple ways of transforming; Rembrandt and the Mark Mazower and Vijay Prashad on the shifting politics of rough style; Vermeer and the discipline and technique of internationalism; Geeta Kapur and Ferreira Gullar on light; and Poussin and the modes of expression, among postcolonial avant-gardes; and primary documents, others. Group conferences in the first semester will focus including UNESCO conference proceedings and artist on the art of Michelangelo as practice and problem and manifestoes. The course lays a particular focus on recent theories of the Baroque; in second semester, theories and work on global modernism by scholars that include Chika problems in 17th-century architecture. Okeke-Agulu, Iftikhar Dadi, Kellie Jones, Joan Kee, Ana María Reyes, and Reiko Tomii. These readings will Global Modernism, Internationalism, illustrate current debates and shifts in the field, opening and the Cold War: 1930s, 1960s, onto questions of art historical method and ways of looking, especially as they pertain to contested and 1990s formerly marginalized domains of art history. Writing Gemma Sharpe assignments will focus on New York-area collections; the Open, Lecture—Year | 10 credits course will include a guided field trip to MoMA. This course is an introduction to diverse trajectories of modern and contemporary art from contexts that include Russia, Mexico, Iran, China, Japan, Argentina, India, Romanesque and Gothic Art: Castle Nigeria, Brazil, Ethiopia, Iraq, Egypt, and Pakistan, as well and Cathedral at the Birth of Europe as Europe and North America. The course ties these Jerrilynn Dodds trajectories together via the theme of “internationalism” Open, Large Lecture—Fall | 5 credits and its shifting geopolitical stakes over the course of the This course explores the powerful architecture, sculpture, 20th century. The course follows the creation of modern and painting styles that lie at the heart of the creation of 14 Art History Europe and the idea of the West. We will use a number of a primary object for classical studies. But what of the strategies to explore how expressive narrative painting complex connections or interactions that existed between and sculpture and new monumental architectural styles the urban cultures of the Greek and Roman world and the were engaged in the formation of a common European so-called “barbarian” peoples? What does the term identity; we will uncover, as well, the artistic vestiges of “barbarian” imply as used by the Greeks and their Roman diverse groups and cultures that challenge that uniform successors? Was it simply meant to denote “otherness,” or vision. These are arts that chronicle deep social struggles did it signify notions of social and material cultural or between classes, intense devotion through pilgrimage, the technological inferiority, as well? What did Greek culture rise of cities and universities, and movements that could in its formative stages borrow from its non-Greek both advocate genocide and nurture enormous neighbors? In the course of time, what technologies and creativity—in styles both flamboyant and modes of artistic expression did “barbarian” peoples of austere—growing from places as diverse as castles and Asia and Europe absorb from the classical world? How rural monasteries to Gothic cathedrals. The course will does consideration of such issues help us to gain a clearer explore those aspects of expressive visual language that understanding of the whole substance and rhetoric of link works of art to social history, the history of ideas, and Western cultural identity? The answers to these questions political ideology. are neither simple nor easy. They require a careful look at the cultural dynamic between the Greeks, Etruscans, and Critical Landscapes of the Atlantic Romans and an array of non-classical peoples—Egyptians, Phoenicians, Persians, Scythians, Sarmatians, Celts, and World various Germanic tribes—through a vast panorama of Alex Moore space and time. We will approach the problem from the Open, Lecture—Fall | 5 credits | Remote perspective of history, especially through such primary This course brings together methods and texts from art sources as the histories of Herodotus, Polybios, and history, environmental humanities, Black studies, and Tacitus. But we will also consider the problem from the human geography to look critically at how communities perspective of art history or archaeology, since it was in see and understand land and how that informs their the domain of material culture—the art of ornament and relationship to the Earth, to other humans, and to display—that tribal peoples of Europe and Asia found their nonhuman lifeforms. We will take a rigorous, but most important modes of expression and most tangible experimental and creative, approach to these topics. The form of interaction with classical peoples to the west and geographical focus is the Atlantic world, encompassing south. North America, Europe, and Africa. We will spend the first half of the course on historical examples from the period of the transatlantic trade in enslaved Africans and Home/Nation: 20th-Century Asian European and colonial expansion. In the second half of the Art–via New York course, we will look at the contemporary legacies of those Gemma Sharpe histories, particularly as engaged by artists. Given the Open, Seminar—Fall | 5 credits temporal and geographical scope of the course, it does not This seminar is an introduction to modern and aim to be comprehensive but, instead, to provide multiple contemporary art from India, Pakistan, Bangladesh, Japan, examples that demonstrate the historical and China, Taiwan, and Korea. The course takes its title from contemporary stakes of conceptualizing and representing Indian artist Rummana Hussain’s “Home/Nation” (1996), land across spaces. Some of the themes that we will take a multimedia installation reflecting on rising political up include: race, class, and empire in the English violence in India at the end of the century—especially countryside; extractive colonialism in Namibia and the against minority groups. In 1998, Hussain completed a Democratic Republic of the Congo; and plantation and residency at Art in General in New York and was one of carceral landscapes in the United States. Alongside numerous artists from across Asia showing in the City hegemonic practices, we will look at visual expressions of during the “global” and “multicultural” 1990s. This sovereignty, freedom, and interdependence produced by seminar elaborates on this global turn by tracing prior individuals and communities in critique of dominant visual histories of Asian art in the City; however, our discussion regimes. and reading will also spend equal time in Asian and New York-based histories of modern and contemporary art, Greeks, Romans, and Barbarians looking across continents to consider parallels, inversions, connections, and disconnections between and among David Castriota them. We will, therefore, examine artists like Hussain, who Open, Seminar—Year | 10 credits might have visited New York only briefly, along with those The study of the Greco-Roman world and its contribution who have lived in the City for all or most of their lives. to the evolution of ancient Mediterranean culture remains Artists examined will include Toshi Shumizu, Rabindranath THE CURRICULUM 15 Tagore, Chao Chung-hsiang, F. N. Souza, Isamu Noguchi, The Rise of the New Right in the United States (p. 62), Zainul Abedin, Yoko Ono, Tehching Hsieh, Zarina Hashmi, Joshua Muldavin Geography and Shahzia Sikander. We will consider how artists Beginning Greek (p. 65), Emily Anhalt Greek (Ancient) grappled with splits between “home” and “nation,” both in Becoming Modern: Europe From 1760 to 1914 (p. 68), Philip Asia and in the United States, during the 20th century, Swoboda History taking into account major events in Asian history that European Imperialism: Violence, Knowledge, and Migration include decolonization, the Cold War, and neoliberal Since the 19th century (p. 68), Philipp Nielsen History globalization. We will also explore the impact of World War Winds of Doctrine: Europe in the Age of the I and World War II on Asian minorities in the United States, Reformation (p. 69), Philip Swoboda History the civil rights movement and related passage of the 1965 Theories at Heart (p. 70), Antonia Carcelén-Estrada Immigration and Nationality Act, the , and, History more recently, the aftermaths of 9/11 and the ongoing Being Totalitarian: Making Hitler’s Germany, Mussolini’s coronavirus pandemic. Artistically, we will examine Italy, and Stalin’s Soviet Union (p. 73), Philipp Nielsen diverse trajectories of realism and abstraction, History photography and performance, and new media and avant- Beginning Italian: Viaggio in Italia (p. 80), Tristana garde strategies. Students will have the opportunity to Rorandelli Italian visit New York-based museums, galleries, and archival Intermediate Italian: Modern Italian Culture and collections, including the Asia Art Archive, as part of in- Literature (p. 80), Tristana Rorandelli Italian class and individual assignments. Seminar discussion and Intermediate Latin (p. 82), Emily Anhalt Latin final papers will focus on primary documents: institutional First-Year Studies: Romanticism to Modernism in English- correspondences and historical newspaper and magazine Language Poetry (p. 85), Neil Arditi Literature reviews, artist writings and interviews, and archival Theatre and the City (p. 86), Joseph Lauinger Literature photographs, among other documentary forms. These Studies in Ecocriticism: The Idea of Nature in the Western records will be used to build on existing histories of Asian Tradition (p. 87), Eric Leveau Literature art in/via New York and, if possible, to rediscover new or Milton, Blake, and the Bible (p. 87), William Shullenberger forgotten ones. Literature Can This Republic Be Saved? Cautionary Evidence From Paris: A History Through Art, Ancient Rome (p. 88), Emily Anhalt Literature The Marriage Plot: Love and Romance in American and Architecture, and City Planning English Fiction (p. 89), Nicolaus Mills Literature Jerrilynn Dodds Literature in Translation: 20th-Century Italian Literature Sophomore and Above, Seminar—Spring | 5 credits and Culture (p. 91), Tristana Rorandelli Literature In this course, we will trace the history of Paris from its Conscience of the Nations: Classics of African foundation until World War I, working from the visual arts Literature (p. 92), William Shullenberger Literature that both defined and emanated from this remarkable city. The Philosophy of Music (p. 102), Martin Goldray Music We will explore works of art, architecture, and urban The Music of Russia (p. 103), Martin Goldray Music design as documents of history, social and cultural values, First-Year Studies: The Senses: Art and Science (p. 125), and the history of ideas. Our readings and discussions will Elizabeth Johnston Psychology lead us to interactions between the arts and the history, Theories of the Creative Process (p. 131), Charlotte L. Doyle fashion, religion, science, and literature of Paris. In both Psychology individual and group projects, students will chart these Art and Visual Perception (p. 133), Elizabeth Johnston relationships graphically and construct a cultural history Psychology of Paris from Roman Lutetia to the City of Lights. Lineages of Utopia (p. 144), Shahnaz Rouse Sociology Beginning Spanish: A Glimpse Into the Hispanic World Courses offered in related disciplines this year are listed through its Language and Culture (p. 146), Ximena below. Full descriptions of the courses may be found under Venturini Spanish the appropriate disciplines. 1,001 Drawings (p. 166), John O’Connor Visual and Studio Arts The Environmental Imagination: Perspectives From the Architecture Design Studio: Heavy–Light (p. 167), Miku Social Sciences, Environmental Humanities, and the Dixit Visual and Studio Arts Arts (p. 42), Charles Zerner Environmental Studies Architecture Design Studio: Enclosure and First-Year Studies: Media Sketchbooks (p. 49), Robin Environment (p. 167), Miku Dixit Visual and Studio Starbuck Filmmaking and Moving Image Arts Arts Worldbuilding (p. 49), Peter Burr Filmmaking and Moving Site/Situation (p. 168), Gabriela Salazar Visual and Studio Image Arts Arts 16 Asian Studies Digital Imaging Studio (p. 169), Shamus Clisset Visual and tortuous one. Policymakers, elites, and the common Studio Arts people oscillated between the poles of reform and 3D Modeling (p. 169), Shamus Clisset Visual and Studio revolution—bouts of wild radicalism alternated with more Arts sober policies—as they pursued changes that they hoped Black-and-White Darkroom: An Immersion (p. 171), Sophie would bring a better society and polity. This class Barbasch Visual and Studio Arts examines some of the major events and personalities of Senior Interdisciplinary Studio (p. 171), John O’Connor, this arduous century and its momentous political, social, Riad Miah Visual and Studio Arts and cultural changes. We will learn and apply skills of Experiments in Architectural Drawing and historical analysis to primary documents (in translation), Representation (p. 172), Miku Dixit Visual and Studio some fiction, and film. Along the way, we will encounter a Arts rich cast of characters, including Sun Yatsen, China’s Photogrammetry (p. 173), Shamus Clisset Visual and “national father”; colorful warlords; corrupt bureaucrats; Studio Arts fervent intellectuals; protesting youths; heroic communist First-Year Studies: Two Lenses on Writing (p. 174), Myra martyrs; the towering and enigmatic chairman Mao; long- Goldberg Writing suffering peasants; and fanatical Red Guards. These men Ecopoetry (p. 182), Marie Howe Writing and women made and remade modern China. This class is To Hold the Unsayable: A Poetry Workshop (p. 183), Marie history and, thus, is not primarily concerned with Howe Writing contemporary China; but by the end of the year, students will be well-equipped with an understanding of China’s ASIAN STUDIES recent past, knowledge that will help immeasurably in making sense of today’s China as it becomes increasingly Asian studies is an interdisciplinary field grounded in important in our globalized economy and society. In current approaches to the varied regions of Asia. Seminars addition to regular seminar (discussion) sessions, this and lectures are offered on China, Japan, India, FYS includes an individual research (conference) project Bangladesh, Nepal, and Indonesia. Courses explore Asian each semester; these will be guided through biweekly, cultures, geographies, histories, societies, and religions. research-specific, group meetings and individual Visual and performing arts are included in the Asian conferences in the fall and biweekly one-on-one meetings studies curriculum. Faculty members, trained in languages in the spring. of their areas, draw on extensive field experience in Asia. Their courses bridge humanities, social sciences, and global studies. Chinese Literature, Folktales, and Students are encouraged to consider studying in Asia Popular Culture during their junior year. The Officef o International Ellen Neskar Programs assists students in locating appropriate Open, Seminar—Year | 10 credits opportunities. Recent Sarah Lawrence College students Throughout Chinese history, high literature and popular have participated in programs of study in China, India, and folklore shared a fascination with certain subjects, Japan. including ghosts and spirits, heroes and bandits, lovers and friends. Elite authors used these subjects as First-Year Studies: Reform and metaphors to contemplate and criticize their cultural, Revolution: China’s 20th Century economic, and political traditions. In folklore, these subjects gave voice to nonelite concerns and Kevin Landdeck preoccupations and merged with a variety of practices in Open, FYS—Year | 10 credits popular culture (secular festivals, ancestor worship, and In 1900, China was a faltering empire ruled by an religious practices). Although technically and stylistically autocratic, foreign, dynastic house and an entrenched different, high literature and popular folklore enjoyed a bureaucracy of Confucian officials. sIt sovereignty heavily continual interplay in which each redirected and battered and its territory compromised by foreign powers, influenced the other. This course aims to build different, China was commonly called “The Sick Man of Asia.” In and sometimes competing, conceptions of “tradition and 2000, China was a modern nation state ruled by an culture,” “elite and folklore,” as well as to understand their authoritarian party and an entrenched bureaucracy of continuing relevance today. To that end, we will focus on technocrats and administrators. With a surging economy, the close reading of short-story fiction, folktales, stage swollen foreign reserves, dazzling modern cities, and a plays, opera, and religious practices from three pivotal large and technologically advanced military, China is periods in Chinese history: the Tang-Song period regularly predicted to be the next global superpower. Yet, (eighth-12th centuries), the Ming-Qing period (15th-18th the path between these two startlingly different points centuries), and the 20th century. Our approach will was anything but smooth. China’s 20th century was a involve both literary and historical analysis, and our goals THE CURRICULUM 17 will be to discover continuities and transformations in “founding fathers” like Gandhi and BR Ambedkar—as well both content and form and the interchange between elite as legal briefs opposing the punitive Transgender Persons and popular practices. Topics for class discussion will (Protection of Rights) Act, 2019, which further include: the nature and definitions of the individual; the stigmatizes non-normative gender identities by requiring relationships among the self, family, and society; changing transgender people to register with the government. We notions of honor, virtue, and individualism; attitudes will read fiction, old and new, such as Untouchable (1935), toward gender and sexuality; and the role of fiction and The God of Small Things (1997), and A Life Apart (2016), folklore in promoting or overturning cultural norms. as well as watch movies ranging from indie films like Chitrangada (2012) to Bollywood rom-coms like Shubh Queer(ing) India: Literature, Film, Mangal Zyada Savdhan (2020). and Law Shoumik Bhattacharya Japan’s Heisei Era (1989–2019): Open, Seminar—Fall | 5 credits Culture, Society, and Experiences What is a queer perspective on culture and society? This Jesse Bia course aims to provide an introductory survey to queer Open, Seminar—Fall | 5 credits narratives and cultural production from India and the In this seminar, we will embark on an examination of Indian diaspora as a way to think through this question. Japan’s Heisei Era (1989-2019). Over the course of 30 Texts will cover a large swath of time, from the early 20th years, this dynamic period of contemporary Japanese century to the present, and will range across genres such history gave rise to significant societal changes, profound as speculative feminist fiction, political and cultural cultural transformations, and multiple shared national manifestos, postcolonial novels, and contemporary films. traumas. Persistent demographic shifts produced far- In 2018, the Supreme Court of India finally struck down reaching consequences, greatly altering individuals’ lived Section 377, a colonial-era law used to criminalize experiences and expectations. Devastating natural and and other “unnatural” sex acts, from the manmade disasters deeply shaped collective and Indian Penal Code after more than a decade of legal individual consciences. Desires for catharsis, escapism, battles. The fight for legal rights was accompanied by recreation, and reflection reinvigorated popular culture growing queer representation in popular culture and across a plethora of mediums: J-pop, literature, puroresu, literature. The supposed “coming out” of queerness into anime, and many more. Relaxed societal constraints Indian social and cultural life in the last 10 years, the facilitated new options for self-expression, livelihood, and demand to be seen and heard, has been critiqued by some interpersonal relations. Underrepresented voices were as a by-product of “Westernization” or the influence of added to critical dialogues. We will examine the unique “foreign-returned” elites inspired by the Euro-American sociocultural phenomena and historical events that LGBTQ movement. This has brought with it the need to constitute the Heisei Era, utilizing a diverse and understand the diversity of queer India, as well as the interdisciplinary array of primary sources—ethnography, diaspora. In the case of the diaspora, we will work to de- literature, journalism, analyses, and center the Euro-American diaspora, paying attention to narratives—augmented by and films. We will long histories of migration to the African continent and attempt to deconstruct the era from a monolithic entity indentured labor in the Caribbean and the Pacific as sites into a series of interlinking but distinct features in order to for possible South-South solidarities. Taking seriously better understand and evaluate it. We will explore key questions of race, caste, class, nationality, and gender, we sociocultural developments of the Heisei Era: Japan’s will consider what a queer orientation to those hegemonic rapidly aging and decreasing population, family structure, structures might be and what it might reveal. Thinking alienation, gender norms and reform, rural depopulation, through the ways in which experiences of gender and historical reckonings, and more. We will investigate the sexuality were iterated and experienced across times and ramifications of major events, such as the Aum Shinrikyo spaces will help us think through the specifics of each text terror attacks; the collapse of the bubble economy; and the (and its contexts) while also following threads and “311” Tohoku earthquake, tsunami, and nuclear meltdown. connections beyond. By considering these questions, this We will also examine influential Heisei-defining course hopes to think through the contradictory realities individuals and exemplars of popular culture, potentially of a moment in India during which major Bollywood including Hikaru Utada, Studio Ghibli, Genesis studios are producing gay dramas and even rom-coms, Evangelion, Hakuho, and Perfume. Our ultimate aim is to while questions of sexuality, gender, class, caste, and comprehend this immensely impactful period in recent religious identity are being violently weaponized by mobs Japanese history from a variety of perspectives through with seeming impunity granted by a Hindu-nationalist both academic analyses and the creative output of the state. Students will engage with a diverse set of cultural, period itself. No knowledge of Japanese is required for this political, and legal artifacts—such as the writings of 18 Asian Studies course, as Japanese-language texts will be read in English narratives of imperialism within those sovereign claims, to translation. Prior experience or study of Japan is beneficial see how those narratives (and their blind spots) continue but not required. to frame and support policies and attitudes today.

Asian Imperialisms, 1600–1953 Virtue and the Good Life: Ethics in Kevin Landdeck Classical Chinese Philosophy Open, Seminar—Fall | 5 credits Ellen Neskar East Asia, like much of the globe, has been powerfully Open, Seminar—Fall | 5 credits shaped by the arrival and presence of imperialist power in This course centers on the close, detailed reading of a the region. In fact, in both China and Japan, nationalism is small number of foundational texts in classical founded on resistance to the encroachments of Western and . Our focus will be to explore how imperialism. Both nations cast themselves as victims to these texts might fit “virtue ethics,” which emphasizes the rapacious West. And yet, often unnoticed by patriots moral character and the pursuit of a worthwhile life. Some and pundits, both China and Japan are deeply indebted to attention will be paid to other forms of ethics, including their own domestic imperialisms, albeit in very different those that stress either the adherence to duties and ways. Relying on a wide range of course materials obligations or the social consequences of ethical action. (historical scholarship, paintings, lithographs, Our primary goal, however, will be to examine the ways in photographs, literature, and relevant primary sources), which classical Chinese philosphers regarded personal this course is an intensive investigation of the contours of virtues and “good character” as both a prerequisite to and Asian imperialism, covering the colonialism of the Qing an explanation of appropriate action and its dynasty (1644-1911), the aggressive Western expansion in consequences. Among the more specific topics that we the 19th century, and the Japanese Empire (1895-1945). will explore are: ideal traits of virtue, the links between We will ask: What features (if any) did these very different moral values and different understandings of human empires share, and what set them apart from each other? nature, the pyschological structures of virtue, practices How and why were Asian empires built, how did they end, leading to the cultivation of virtue, the roles of family and and what legacies did they leave? We will excavate the friendship in developing moral values, and what multiethnic Qing imperium for how it complicates China’s constitutes a good life. patriotic master narrative. Does Qing ethnic policy toward native Miao tribes differ from Western racism and its familiar Civilizing Discourse? And what are the legacies of Global Queer Literature: Dystopias Qing colonialism for China’s modern nation state? The and Hope Qing campaigns to subjugate the in the Shoumik Bhattacharya northwest and the colonization of the untamed southwest Open, Seminar—Spring | 5 credits both predated the arrival of the Westerners and the Opium In this seminar, we will study queer texts and films, War (1839-42). How does that impact our understanding considering their particular articulations of queer life and of the clash between China and the rapidly expanding its possibilities. Texts will cover a large swath of time, from West? We will trace earlier views on the classic the early 20th century until the present, and will range confrontation between those two presumed entities across genres such as speculative feminist fiction, First before examining more recent revisionist formulations on Nations narratives, postcolonial novels, and contemporary the Western penetration of China. What were the Bollywood films. We will end the course by looking at processes of Western intrusion, and how did Western science fiction that explores life in spaces that some imperialism come to structure knowledge of China? And, consider dystopian futures but are already becoming the finally, we will turn to the Japanese empire. What were its present for many. As this arc indicates, an underlying motivations, its main phases, and its contradictions? theme of the course will be the maintaining of the Should we understand it as similar to Western imperialism creativity and vitality of everyday life while drowning in or as an alternative, something unique? What are the literal and discursive trash. Across the globe, queer lives implications of both positions? To understand the have already been lived in materially and discursively toxic Japanese empire in both its experiential and theoretical contexts. Engaging with text and films produced across dimensions, we will range widely across Japan’s the world—set in places such as South Africa, India, possessions in Taiwan, Korea, and Manchuria. The Argentina, and even galaxies yet undiscovered—we will questions and topics in this seminar will complicate the think through the lessons that the creation of a queer life master narratives that prevail in both East Asia and the illuminate for us. Queer life within the context of this West—not to delegitimize or subvert Asian sovereignties seminar refers to the multifarious ways in which but, in order to understand the deeply embedded marginalized and non-normative bodies and peoples create social and political lives. Carefully considering the THE CURRICULUM 19 contexts and possibilities that the characters encounter, market and ideology of the post-Mao reform era. Assigned we will explore how queer is a term that translates and readings will be varied, as well. Several key movies will be mutates in interesting ways across time and place. In paired with their textual antecedents (e.g., LU Xun’s New paying attention to the specificities of the texts, queer Year’s Sacrifice will be read alongside HU Sang’s by the itself is thus a term that we will reckon with. Taking same title, while LI Zhun’s The Biography of LI seriously questions of race, class, nationality, and gender, Shuangshuang will accompany the 1962 movie that we will consider what a queer orientation to those followed). Appropriate readings will cover important hegemonic structures produces or reveals, not only in past historical background in some detail; for example, the literary texts but also as a way of imagining a hopeful Great Leap Forward (1959-62) and the Cultural future. As we encounter air and water that is more Revolution (1966-76) are both crucial events for polluted, toxic even, than at any time in which homo understanding the revolutionary experience, while the sapiens have walked the Earth, the only response may latter is particularly relevant for its impact on reform-era seem to be pessimism. Rejecting pessimism, we will ask filmmakers. Other readings will focus specifically on what queer futures and hope we can imagine at a moment cinema, ranging from broad historical overviews on the of planetary crisis. Potential texts: Sultana’s Dream, material/financial conditions of production, distribution, Rokeya Sakhawat Hussain (1905); Lihaaf, Ismat Chugtai and exhibition; close analyses of individual films; the (1942); The House of Hunger, Dambudzo Marechera transition from socialist to postsocialist cinema and the (1978); The Buddha of Suburbia, Hanif Kureishi (1990); construction of “Chineseness” as a object for the Western Disgrace, J. M. Coetzee (1999); Bloodchild, Octavia Butler gaze to the avant-garde/independent responses to the (1994); Animal’s People, Indra Sinha (2007); Moxyland, current global/commercial Chinese cinema. This course is Lauren Beukes (2008); The Ministry of Utmost Happiness, an open superseminar (capped at 30 students), meeting Arundhati Roy (2017); Happy Together (film, 1997); once a week for two and half hours in order to facilitate in- Margarita With a Straw (film, 2014); and Pumzi (film, depth discussions of paired material; for example, two 2009). movies or a movie and significant historical texts (either primary or secondary). In addition to this weekly class time, there will be required screenings of film (one or two Mainland Chinese Cinema, Culture, per week). Students will be divided evenly between the two professors for conferences, using the regular model of and Identity From 1949 to the biweekly meetings. Present Michael Cramer, Kevin Landdeck Courses offered in related disciplines this year are listed Open, Joint seminar—Spring | 5 credits below. Full descriptions of the courses may be found under This seminar course will examine both the historical and the appropriate disciplines. cultural context of mainland Chinese cinema from 1949 to the present. The course will be focused on full-length Ethnographic Research and Writing (p. 7), Robert R. feature films from the People’s Republic of China, Desjarlais Anthropology providing an eclectic mix of movies covering socialist Black England: From Tudors to Two-Tone (p. 9), Mary A. propaganda of the high Maoist period (1949-76), the Porter Anthropology critical stances of the “Fifth Generation” (of graduates Global Modernism, Internationalism, and the Cold War: from the Beijing Film Academy) in the 1980s and early 1930s, 1960s, 1990s (p. 13), Gemma Sharpe Art 1990s, the more entertainment-focused films of post- History Deng (2000s) China, as well as contemporary art films Home/Nation: 20th-Century Asian Art–via New that are largely seen outside of the commercial exhibition York (p. 14), Gemma Sharpe Art History circuit. This wide variety of films will open up questions of Mainland Chinese Cinema, Culture, and Identity From 1949 cinematic representations of Chinese identity and culture to the Present (p. 19), Michael Cramer, Kevin in at least four major modes: socialist revolutionary Landdeck Asian Studies (1949-76), critical reflections on China’s past and the Tai Ji Quan and Gong (Fundamentals) (p. 33), Sherry revolution (1982-1989), what one might call neoliberal Zhang Dance entertainment (1990-present), and the more underground Butoh Through LEIMAY Ludus (p. 33), Ximena Garnica art cinema that has emerged as mainstream Chinese Dance cinema has become increasingly commercial. Along with Mainland Chinese Cinema, Culture, and Identity From 1949 the close analysis of films (their narrative structure, to the Present (p. 47), Michael Cramer, Kevin audiovisual language, relationship to other films from both Landdeck Film History China and beyond), the course will deal with Confucian Food, Agriculture, Environment, and Development (p. 61), legacies in Chinese society, communist revolutionary Joshua Muldavin Geography spasms and the censorship system, and the more open 20 Biology Introduction to Development Studies: The Political Ecology Forensic Biology of Development (p. 62), Joshua Muldavin Geography Drew E. Cressman First-Year Studies: Reform and Revolution: China’s 20th Open, Lecture—Fall | 5 credits Century (p. 67), Kevin Landdeck History From hit television shows such as CSI, Bones, and Forensic Nationalism (p. 71), Matthew Ellis History Files to newspaper headlines that breathlessly relate the Asian Imperialisms, 1600–1953 (p. 72), Kevin Landdeck discovery of a murder victim’s remains...and to Casey History Anthony, JonBenet Ramsey, and other real-life cases, it is Mainland Chinese Cinema, Culture, and Identity From 1949 clear that the world of forensic science has captured the to the Present (p. 74), Michael Cramer, Kevin public imagination. Forensic science describes the Landdeck History application of scientific knowledge to legal problems and Decolonization and the End of Empire (p. 75), Matthew Ellis encompasses an impressively wide variety of History subdisciplines and areas of expertise, ranging from Beginning Japanese (p. 81), Sayuri I. Oyama Japanese forensic anthropology to wildlife forensics. In this course, Advanced Beginning Japanese (p. 81), Izumi Funayama we will specifically focus on the realm of forensic Japanese biology—the generation and use of legally relevant Italian and Japanese Women Writers: A Dialogue (p. 88), information gleaned from the field of biology. In an effort Sayuri I. Oyama, Tristana Rorandelli Literature to move beyond sensationalism and the way forensic Queer(ing) India: Literature, Film, and Law (p. 90), biology is portrayed in the public media, we will explore the Shoumik Bhattacharya Literature actual science and techniques that form the basis of Global Queer Literature: Dystopias and Hope (p. 93), forensic biology and seek to understand the use and Shoumik Bhattacharya Literature limitations of such information in the legal sphere. Japanese Religion and Culture (p. 138), Griffithoulk F Beginning with the historical development of forensic Religion biology, selected topics will likely include death and stages Buddhist Meditation (p. 139), Griffithoulk F Religion of decomposition; determination of postmortem intervals; Both Public and Private: The Social Construction of Family the role of microorganisms in decomposition; vertebrate Life (p. 143), Shahnaz Rouse Sociology and invertebrate scavenging; wound patterning; urban Lineages of Utopia (p. 144), Shahnaz Rouse Sociology mummification; biological material collection and storage; victim and ancestral identification by genetic analysis; the BIOLOGY use of DNA databases such as CODIS; and the biological basis of other criminalistics procedures, including Biology is the study of life in its broadest sense, ranging fingerprinting and blood type analysis. Finally, we will from topics such as the role of trees in affecting global consider DNA privacy and US Supreme Court rulings, atmospheric carbon dioxide down to the molecular including the 2013 decision Maryland v. King, which mechanisms that switch genes on and off in human brain established the right of law enforcement to take DNA cells. Biology includes a tremendous variety of disciplines: samples from individuals arrested for a crime. In all of , immunology, histology, anatomy, these areas, the techniques and concepts employed are physiology, developmental biology, behavior, evolution, derived from some of the most fundamental principles and ecology, and many others. Because Sarah Lawrence structure/function relationships that underlie the entire College faculty members are broadly trained and field of biology. No background in biology is required; frequently teach across the traditional disciplinary indeed, a primary objective of this course is to use our boundaries, students gain an integrated knowledge of exploration within the framework of forensic biology as a living things—a view of the forest as well as the trees. means to develop a broader and more thorough In order to provide a broad introduction and understanding of the science of biology. foundation in the field of biology, a number of courses appear under the designation General Biology Series. Each of these open-level, semester-long courses have an General Biology Series: Genes, Cells, accompanying lab component. Students may enroll in any and Evolution number of the General Biology Series courses during their Cecilia Phillips Toro time at Sarah Lawrence and in any order, although it is Open, Small Lecture—Fall | 5 credits strongly recommended that students begin with General Biology, the study of life on Earth, encompasses structures Biology Series: Genes, Cells, and Evolution in the fall and forms ranging from the very minute to the very large. semester. Completion of any two General Biology Series In order to grasp the complexities of life, we begin this courses fulfills the minimum biology curriculum study with the cellular and molecular forms and requirements for medical school admission. These courses mechanisms that serve as the foundation for all living typically meet the prerequisite needs for further organisms. The initial part of the semester will introduce intermediate- and advanced-level study in biology, as well. the fundamental molecules critical to the biochemistry of THE CURRICULUM 21 life processes. From there, we branch out to investigate sources, forms, and methods of use while also exploring the major ideas, structures, and concepts central to the what is known about the biological basis of tolerance, biology of cells, genetics, and the chromosomal basis of cravings, withdrawal, and the of addiction. Finally, inheritance. Finally, we conclude the semester by we will explore the neurobiological mechanisms of the examining how those principles relate to the mechanisms current available treatments for drug overdose and of evolution. Throughout the semester, we will discuss the addiction. Lectures will be complemented by small-group individuals responsible for major discoveries, as well as conference research projects. the experimental techniques and process by which such advances in biological understanding are made. Classes Genetics will be supplemented with weekly laboratory work. Drew E. Cressman Open, Seminar—Fall | 5 credits Evolutionary Biology At the biological core of all life on Earth is the gene. The Michelle Hersh unique combination of genes in each individual ultimately Open, Lecture—Spring | 5 credits forms the basis for that person’s physical appearance, What biological processes led to the development of the metabolic capacity, thought processes, and behavior. incredible diversity of life that we see on Earth today? The Therefore, in order to understand how life develops and process of evolution, or a change in the inherited traits in a functions, it is critical to understand what genes are, how population over time, is fundamental to our understanding they work, and how they are passed on from parents to of biology and the history of life on Earth. This course will offspring. In this course, we will begin by investigating the introduce students to the field of evolutionary biology. We theories of inheritance first put forth by Mendel and then will interpret evidence from the fossil record, molecular progress to our current concepts of how genes are genetics, systematics, and empirical studies to deepen our transmitted through individuals, families, and whole understanding of evolutionary mechanisms. Topics populations. We will also examine chromosome structure, covered include the genetic basis of evolution, the molecular functions of genes and DNA, and how phylogenetics, natural selection, adaptation, speciation, in DNA can lead to physical abnormalities and coevolution, and the evolution of behavior and life-history such as Down and Turner syndromes or traits. Students will attend one weekly, 90-minute lecture hemophilia. Finally, we will discuss the role of genetics in and one weekly, 90-minute group conference where influencing such complex phenotypes as behavior and scientific papers in evolutionary biology will be discussed intelligence. Classes will be supplemented with weekly in small groups. This lecture is open to all students with laboratory work. any level of science experience; it can also serve as the second half of an FYS option. For those first-year students, General Biology Series: Ecology this course will be paired with the course General Biology Series: Ecology as a yearlong sequence; conferences will be Michelle Hersh held biweekly, and one group conference section will be Open, Seminar—Fall | 5 credits comprised of this first-year cohort. Ecology is a scientific discipline that studies interactions between living organisms and their environments, as well as processes governing how species are distributed, how Drugs and the Brain they interact, and how nutrients and energy cycle through Cecilia Phillips Toro ecosystems. Ecologists might ask questions about how Open, Lecture—Spring | 5 credits plant growth responds to climate change, how squirrel The nervous system is the ultimate target of many drugs: population size or behavior changes in response to acorn those taken to alleviate pain, to increase pleasure, or to availability, or how nutrients like nitrogen and transform perceptions. In this lecture course, we will focus phosphorous cycle in rivers and streams. In this course, on the neuronal targets and mechanisms of psychoactive students will develop a strong foundational understanding drugs, including the neurotransmitter systems that they of the science of ecology at the individual, population, modulate. We will consider stimulants, depressants, community, and ecosystem scales. Throughout the course, narcotics, analgesics, hallucinogens, and emphasis will be placed on how carefully designed psychotherapeutics. Drug use cannot be fully explained, experiments and data analysis can help us find predictable however, by simply identifying the neuronal proteins with patterns despite the complexity of nature. Students will be which drugs interact. In order to gain a more expected to design and carry out a field experiment in comprehensive understanding of drug use and abuse, we small groups. The course will include a weekly lab section, will explore the social, political, economic, and genetic with most labs held outdoors. This course is open to first- factors that influence drug consumption—both legal and year students as a First-Year Studies option, as well as to illegal—and drug epidemics, including the current opioid any other interested sophomore, junior, or senior. For those epidemic in the United States. We will learn about drug 22 Biology first-year students, this will be paired with the course Modern Biology: The Roots of Life Evolutionary Biology as a yearlong sequence; conferences Drew E. Cressman will be held biweekly. Open, Seminar—Spring | 5 credits The study of life is as old as human history, as we’ve long Animal Behavior sought to unravel the mechanisms of the body, the Malcolm Rosenthal mysteries of inheritance, the malevolence of disease, the Open, Seminar—Fall | 5 credits magic of reproduction, or a thousand other questions Why do birds sing? Why do wolves hunt in packs, but about the natural world and its inhabitants. Paradoxically, spiders hunt alone? Why are worker bees willing to die to our present understanding of biology and our latest protect the queen? In short, why do animals do the things advancements are the result of relatively recent they do? In this course, we will explore how ecological discoveries that date back a mere century or two and often forces drive the evolution of animal behavior. We will start far less. This has led to biology being a young, vibrant, by discussing the fundamental theoretical toolkit used to dynamic field of study, in which innovative form robust hypotheses about animal behaviors, including breakthroughs—ranging from in vitro fertilization to viral basic concepts drawn from the study of evolutionary vaccines—occur in seemingly rapid-fire fashion and forge biology and ecology. We will then use these tools to previously unimagined possibilities for the future. This explore diverse behavioral topics from mating and new course will explore the cellular and molecular parental care, to communication and social behavior, to workings that have marked our rapid progress, from early foraging and predation. We will be reading and discussing 20th-century studies to the latest advances of today, research, as well as history and philosophy, from the field. through the examination of parallel, sequential threads of Students will have the opportunity to build their own development. For example, identification of DNA structure behavior-based study over the course of the semester. in the 1950s led to the advent of DNA sequencing technologies in the 1970s that, in turn, sparked the Project in the 1990s, forming the promise of Neurological Disorders today. Other topic threads will Cecilia Phillips Toro include: bacterial viruses, recombinant DNA technology, Open, Seminar—Fall | 5 credits gene therapy and GMOs, CRISPR-based genetic Disorders of the brain are often devastating. They can engineering; IVF, cloning; Henrietta Lacks, war on , disrupt key characteristics of life, from memory formation immunotherapy; gene silencing, microRNAs, COVID and retrieval to communication and personality to vaccines. The goal is to develop a deeper understanding of execution of movements, including those necessary for the biological principles and mechanisms that govern the breathing. In this course, we will learn about the brain in latest, cutting-edge biotechnologies, as well as to be able health and disease by exploring the neuroscience of to trace back how these recent advancements rest upon neurological disorders. We will study Alzheimer’s disease, previous discoveries—all of which weave together to form Parkinson’s disease, Huntington’s disease, lytico-bodig, the rich tapestry of modern biology. No previous amyotrophic lateral sclerosis, chronic traumatic experience in biology is necessary. encephalopathy, and autism spectrum disorder. We will consider these disorders holistically and from a biological point of view. We will explore the lived experience of the General Biology Series: Anatomy and affected and their loved ones. We will see how symptoms Physiology of the disorders can be understood by studying what is Beth Ann Ditkoff known about the neural tissues, cells, and molecules that Open, Seminar—Spring | 5 credits are dysfunctional in the disease state. We will explore Anatomy is the branch of science that investigates the what is known about the genetic or environmental bodily structure of living organisms, while physiology is underpinnings of the disorders and any current treatments the study of the normal functions of those organisms. In available. Readings will be drawn from the writings of the this course, we will explore the human body in both health prominent neurologist and author Oliver Sacks, in addition and disease. Focus will be placed on the major body units, to magazine articles, scientific studies, and relevant films such as skin, skeletal, muscular, nervous, endocrine, that complement and expand upon Sacks’ descriptions of cardiovascular, respiratory, digestive, urinary, and brain function. reproductive systems. By emphasizing concepts and critical thinking rather than rote memorization, we will make associations between anatomical structures and their functions. The course will have a clinical approach to health and illness, with examples drawn from medical disciplines such as radiology, pathology, and . Laboratory work will include dissections and microscope THE CURRICULUM 23 work. A final conference paper is required at the communicate with one another and coordinate their conclusion of the course; the topic will be chosen by each activities? How do they regulate their growth? What role student to emphasize the relevance of anatomy/ do genes play in controlling cellular function? This course physiology to our understanding of the human body. will address these questions and introduce the basic biology of cells while keeping in mind their larger role in Marine Biology tissues and organs. If we can understand the structures and functions of the individual cells that serve as the Crystal Ng subunits of larger organisms, we can begin to understand Open, Seminar—Spring | 5 credits the biological nature of humans and other complex life The oceans cover more than 70 percent of our planet and forms. provide 99 percent of habitable space. In this seminar, we will learn about the incredible biodiversity in the marine environment and the physical and chemical factors that Microbiology allow the oceans to support such high diversity and Michelle Hersh productivity. We will cover physical processes, including Intermediate, Seminar—Spring | 5 credits circulation and the carbon pump, and abiotic factors that Humans are bathing in a sea of microbes. Microbes coat influence marine organisms, including light, nutrients, and our environments, live within our bodies, and perform temperature. Additionally, we will go over the major groups functions both beneficial and detrimental to human well- of invertebrates and vertebrates and the variety of being. This course will explore the biology of ecosystems that these organisms inhabit, including coral microorganisms, broadly defined as bacteria, archaea, reefs, mangrove forests, estuaries, and deep-sea viruses, single-celled eukaryotes, and fungi. We will study communities. We will then examine human impacts on the microbes at multiple scales, including the individual cell, oceans, focusing on fishing and climate change. Class the growing population, and populations interacting with activities may include trips to local tide pools. one another or their environments. Microbial physiology, genetics, diversity, and ecology will be covered in depth. Animal Communication Particular emphasis will be given to the role of microbes that cause infectious disease in humans and microbes Malcolm Rosenthal that play critical roles in ecological processes. Seminars Open, Seminar—Spring | 5 credits will be supplemented by a weekly lab section to learn key From the haunting howls of wolves to the rainbow colors of microbiological techniques and methods, most notably tropical fish, the world is alive with the sounds, smells, and culturing and identifying bacteria. Prerequisite: successful sights of animals talking to each other. Animals completion of General Biology Series: Genes, Cells, and communicate for many reasons—from sharing Evolution or permission of the instructor. information about potential predators, to negotiating access to food, to deciding whether or not to raise offspring together. In this course, we will discuss how Plant Systematics and Evolution animal signals evolve; how they work; and what makes Kenneth G. Karol them look, sound, smell, feel, and taste the way they do. To Intermediate, Seminar—Spring | 5 credits answer these questions, we will examine the goals and Understanding the diversity of plants and their interests of signalers and receivers, how signals are evolutionary relationships is fundamental to shaped by the environments they move through, and why understanding the complex web of life on Earth. Nearly all they are so often sensory experiences beyond what other organisms, including humans, rely on humans can see and hear. We will also discuss how the plants—directly or indirectly—for their food and oxygen. cultures and experiences of the scientists who study these Consequently, plants are essential to our existence; and by questions have both guided and constrained our studying plants in detail, we learn more about our own understanding of animal signals. species and the world we inhabit. This course is a detailed survey of plant diversity and the evolutionary relationships Cell Biology of plants. In the course, you will gain a thorough understanding of the diverse morphology of plants and will Drew E. Cressman acquire an understanding of the plant “Tree of Life.” You Intermediate, Seminar—Spring | 5 credits will be able to describe morphological structures of plants Cells are the most basic unit of life on the planet. All life using botanical terminology and learn how to identify forms are simply conglomerations of cells, ranging from prominent plant families using diagnostic morphological the individual bacterial cells to the higher order plants and characters and plant keys. Seminars and associated labs animals. Humans, themselves, are made up of trillions of will be supplemented with independent field collections. cells. So what exactly is a cell? What is it made of? How does it function? In a complex organism, how do cells 24 Chemistry Courses offered in related disciplines this year are listed reactions, where molecules combine and below. Full descriptions of the courses may be found under transform—sometimes dramatically—to generate new the appropriate disciplines. molecules. Chemistry explores many areas of our physical world, First-Year Studies: Chemistry for Contrarians: A ranging from our bodies and the air that we breathe to the Nontraditional Science Course for Liberal Arts many products of the human endeavor and including art Students (p. 24), Colin Abernethy Chemistry and a plethora of consumer products. Students at Sarah General Chemistry I (p. 25), Colin Abernethy Chemistry Lawrence College may investigate these diverse areas of Nutrition (p. 25), Mali Yin Chemistry chemistry through a variety of courses: Atmospheric General Chemistry II (p. 25), Colin Abernethy Chemistry Chemistry, Environmental Chemistry, Nutrition, Organic Chemistry I (p. 25), Mali Yin Chemistry Photographic Chemistry, and Extraordinary Chemistry of Biochemistry (p. 26), Colin Abernethy Chemistry Everyday Life, to name a few. In addition to these courses, Organic Chemistry II (p. 26), Sean Boson Chemistry the College routinely offers General Chemistry, Organic Green Infrastructure (p. 40), Bernice Rosenzweig Chemistry, and Biochemistry to provide a foundation in Environmental Science the theories central to this discipline. Geospatial Data (p. 41), Bernice Rosenzweig Environmental Just as experimentation played a fundamental role in Science the formulation of the theories of chemistry, The Environmental Imagination: Perspectives From the experimentation plays an integral part in learning them. Social Sciences, Environmental Humanities, and the Therefore, laboratory experiments complement many of Arts (p. 42), Charles Zerner Environmental Studies the seminar courses. An Introduction to Statistical Methods and Analysis (p. 97), Daniel King Mathematics First-Year Studies: Chemistry for Calculus II: Further Study of Motion and Change (p. 98), Erin Carmody Mathematics Contrarians: A Nontraditional Multivariable Mathematics: Linear Algebra, Vector Science Course for Liberal Arts Calculus, and Differential Equations (p. 98), Daniel Students King Mathematics Colin Abernethy Classical Mechanics (Calculus-Based General Open, FYS—Year | 10 credits Physics) (p. 117), Merideth Frey Physics For anyone who wants to know how the world (and the Introduction to Mechanics (General Physics Without universe) works at a fundamental level, modern science Calculus) (p. 117), Melvin Irizarry-Gelpi Physics has (almost) all the answers; however, painful memories Electromagnetism & Light (Calculus-Based General of school science classes and seemingly impenetrable Physics) (p. 117), Merideth Frey Physics scientific jargon often put people off from engaging with First-Year Studies: The Senses: Art and Science (p. 125), this area of study. In this course, we will take two very Elizabeth Johnston Psychology different approaches to engage with chemistry and related First-Year Studies: Emotions and Decisions (p. 126), Maia areas of physics and biology. I hope to convince you that Pujara Psychology science is, ultimately, about people—how we learn about Perspectives on Child Development (p. 132), Charlotte L. and change our beliefs concerning the physical world. Fall Doyle Psychology semester: Gaming Our Way to Scientific Literacy. In recent Art and Visual Perception (p. 133), Elizabeth Johnston years, a number of educational board and card games have Psychology been designed to aid students in learning the vocabulary The Mind-Body Connection: Psychophysiology Research and concepts of the physical and life sciences. The Seminar (p. 134), Maia Pujara Psychology manufacturers of these games claim that they are Measuring Difference: Constructing Race, Gender, and scientifically accurate and offer a novel way for Ability (p. 144), Adrianna Munson Sociology nontraditional learners to develop a working knowledge of Ecopoetry (p. 182), Marie Howe Writing basic science. We will study a number of important core topics in subatomic and atomic physics, chemistry, and CHEMISTRY biochemistry. To enliven our classes, we will use the following games as the center of each unit of study: Chemistry seeks to understand our physical world on an Subatomic: An Atom Building Game™; Periodic: A Game of atomic level. This microscopic picture uses the elements the Elements™; Covalence: A Molecule Building Game™; of the periodic table as building blocks for a vast array of Ion: A Compound Building Game™; Peptide: A Protein molecules, ranging from water to DNA. But some of the Building Game™; and Cytosis: A Cell Biology Game™. In most fascinating aspects of chemistry involve chemical each case, we will look at how the developers have integrated current scientific knowledge into their games. By playing, we will determine how effective these games THE CURRICULUM 25 are in helping us to learn scientific concepts and to gain can’t be digested? Can this kind of fat satisfy our innate confidence using scientific vocabulary. Spring Semester: appetite for fats? Are there unwanted side effects, and Reading and Writing the Biography of Chemistry. During why? What constitutes a healthy diet? What are the the spring semester, we will read the stories of some consequences of severely restricted food intake being chemical elements and important chemical seen as a prevalent emotional disorder, such as anorexia compounds—not just their discovery but also their and bulimia? These and other questions will be discussed. cultural and historical significance. We will discover how We will also discuss the effects of development, different cultures affect attitudes toward various pregnancy, emotional state, and disease on nutritional chemicals and their use and how, in return, important requirements. And we will consider the effects of food chemicals have affected culture and transformed lives. production and processing on nutrition value and food During the fall semester, students will meet with the safety. instructor weekly for individual conferences. In the spring, we will meet weekly or every other week, depending on General Chemistry II students’ needs and the progress of their conference projects. Colin Abernethy Intermediate, Small Lecture—Spring | 5 credits This course is a continuation of General Chemistry I. We General Chemistry I will begin with a detailed study of both the physical and Colin Abernethy chemical properties of solutions, which will enable us to Open, Small Lecture—Fall | 5 credits consider the factors that affect both the rates and Chemistry is the study of the properties, composition, and direction of chemical reactions. We will then investigate transformation of matter. Chemistry is central to the the properties of acids and bases and the role that production of the materials required for modern life; for electricity plays in chemistry. The course will conclude example, the synthesis of pharmaceuticals to treat with introductions to nuclear chemistry and organic disease, the manufacture of fertilizers and pesticides chemistry. Weekly laboratory sessions will allow us to required to feed an ever-growing population, and the demonstrate and test the theories described in the lecture development of efficient and viren onmentally benign segment of the course. Prerequisite: General Chemistry I energy sources. This course provides an introduction to the fundamental concepts of modern chemistry. We will Organic Chemistry I begin by examining the structure and properties of atoms, which are the building blocks of the elements and the Mali Yin simplest substances in the material world around us. We Intermediate, Seminar—Fall | 5 credits will then explore how atoms of different elements can Organic chemistry is the study of chemical compounds bond with each other to form an infinite variety of more whose molecules are based on a framework of carbon complex substances, called compounds. This will lead us atoms, typically in combination with hydrogen, oxygen, to an investigation of several classes of chemical and nitrogen. Despite this rather limited set of elements, reactions: the processes by which substances are there are more organic compounds known than there are transformed into new materials with different physical compounds that do not contain carbon. Adding to the properties. Along the way, we will learn how and why the importance of organic chemistry is the fact that very many three states of matter (solids, liquids, and gases) differ of the chemical compounds that make modern life from one another and how energy may be either produced possible—such as pharmaceuticals, pesticides, or consumed by chemical reactions. In weekly laboratory herbicides, plastics, pigments, and dyes—can be classed sessions, we will perform experiments to illustrate and as organic. Organic chemistry, therefore, impacts many test the theories presented in the lecture part of the other scientific subjects; and knowledge of organic course. These experiments will also serve to develop chemistry is essential for a detailed understanding of practical skills in both synthetic and analytic chemical materials science, environmental science, molecular techniques. biology, and medicine. This course gives an overview of the structures, physical properties, and reactivity of organic compounds. We will see that organic compounds can be Nutrition classified into families of similar compounds based upon Mali Yin certain groups of atoms that always behave in a similar Open, Small Lecture—Fall | 5 credits manner no matter what molecule they are in. These Nutrition is the sum of all interactions between us and the functional groups enable us to rationalize the vast number food that we consume. The study of nutrition includes the of reactions that organic reagents undergo. Topics covered nature and general role of nutrients in forming structural in this course include: the types of bonding within organic material, providing energy, and helping to regulate molecules; fundamental concepts of organic reaction metabolism. How do food chemists synthesize the fat that mechanisms (nucleophilic substitution, elimination, and 26 Chinese electrophilic addition); the conformations and Courses offered in related disciplines this year are listed configurations of organic molecules; and the physical and below. Full descriptions of the courses may be found under chemical properties of alkanes, halogenoalkanes, alkenes, the appropriate disciplines. alkynes, and alcohols. In the laboratory section of the course, we will develop the techniques and skills required General Biology Series: Genes, Cells, and Evolution (p. 20), to synthesize, separate, purify, and identify organic Cecilia Phillips Toro Biology compounds. Organic Chemistry is a key requirement for Green Infrastructure (p. 40), Bernice Rosenzweig pre-med students and is strongly encouraged for all others Environmental Science who are interested in the biological and physical sciences. The Environmental Imagination: Perspectives From the Prerequisite: General Chemistry or its equivalent Social Sciences, Environmental Humanities, and the Arts (p. 42), Charles Zerner Environmental Studies An Introduction to Statistical Methods and Analysis (p. 97), Biochemistry Daniel King Mathematics Colin Abernethy Calculus I: The Study of Motion and Change (p. 98), Philip Advanced, Small seminar—Fall | 3 credits Ording, Erin Carmody Mathematics This course is concerned with the chemical basis of Calculus II: Further Study of Motion and Change (p. 98), biology. We will begin by examining the structure and Erin Carmody Mathematics function of the main classes of biologically important Multivariable Mathematics: Linear Algebra, Vector molecules: amino acids, peptides, and proteins; Calculus, and Differential Equations (p. 98), Daniel carbohydrates; and lipids. We will then look at enzyme King Mathematics activity, including the mechanisms, kinetics, and Classical Mechanics (Calculus-Based General regulation of enzyme-mediated reactions. This will be Physics) (p. 117), Merideth Frey Physics followed by an overview of nucleic acids (DNA and RNA) Introduction to Mechanics (General Physics Without and their role within eukaryotic cells. The study of Calculus) (p. 117), Melvin Irizarry-Gelpi Physics biological membranes will then lead to an investigation of Electromagnetism & Light (Calculus-Based General bioenergetics and metabolic processes within cells. Physics) (p. 117), Merideth Frey Physics Prerequisite: Two semesters of Organic Chemistry. Ecopoetry (p. 182), Marie Howe Writing

Organic Chemistry II CHINESE Sean Boson The Chinese program includes beginning, intermediate, Intermediate, Seminar—Spring | 5 credits and advanced courses that teach students to speak, read, In this course, we will explore the physical and chemical write, and comprehend standard Chinese (Mandarin). The properties of additional families of organic molecules. The first-year class focuses on oral proficiency and grammar reactivity of aromatic compounds, aldehydes and ketones, structures and culminates in end-of-semester projects carboxylic acids and their derivatives (acid chlorides, acid that draw on the students’ interests. Reading and writing anhydrides, esters, and amides), enols and enolates, and is emphasized in the second-year class, as students are amines will be discussed. We will also investigate the introduced to short stories, poetry, and film. Student work methods by which large, complicated molecules can be in class and conference is supplemented by weekly synthesized from simple starting materials. Modern meetings with the language assistant and by the methods of organic structural determination—such as lunchtime Chinese Table. Extracurricular activities include mass spectrometry, 1H and 13C nuclear magnetic visits to museums and excursions to New York City’s resonance spectroscopy, and infrared spectroscopy—will various Chinatown neighborhoods. also be introduced. In the laboratory section of this course, Students of Chinese are strongly encouraged to we will continue to develop the techniques and skills spend a semester or, ideally, a year abroad at one of required to synthesize, separate, purify, and identify several programs, such as Global Alliance, Middlebury organic compounds. Organic Chemistry II is a key College, or Associated Colleges in China. These programs requirement for pre-med students and is strongly offer a range of experiences at different sites, including encouraged for all others who are interested in the Beijing, Shanghai, Hangzhou, and . biological and physical sciences. Prerequisite: Organic Students of Chinese language are encouraged to Chemistry I enhance their curriculum with courses in history, philosophy, and literature taught through Asian studies, as well as through religion and geography. THE CURRICULUM 27 Beginning Chinese Ancient Greek and Roman insights and discoveries originated Western culture and continue to shape the Fang-yi Chao modern world. Ancient artists and writers still inspire Open, Small seminar—Year | 10 credits today’s great artists and writers. Greek and Roman ideas Beginning Chinese is designed for students with little or no about politics, drama, history, and philosophy (to name knowledge of Modern Standard Mandarin Chinese. The just a few) broaden 21st-century perspectives and course aims to develop students’ communicative challenge 21st-century assumptions. Classical languages competency in listening, speaking, reading, and writing in and literature encourage thoughtful, substantive Mandarin Chinese at the novice-high level on the participation in a global, multicultural conversation and American Council on the Teaching of Foreign Languages cultivate skills necessary for coping with both failure and (ACFTL) proficiency scale. Students will learn the basics success. Because it is multidisciplinary, classical literature of the language, including sounds, grammar, vocabulary, adapts easily to students’ interests and rewards and Chinese characters, as well as important cultural interdisciplinary study. Classics courses contribute aspects. Through authentic materials and meaningful directly to the College’s unique integration of the liberal tasks, students will acquire basic communicative skills for arts and creative arts, as developing writers and artists essential, daily-life communication. fuel their own creative energies by encountering the work of ingenious and enduring predecessors. The study of the Intermediate Chinese classics develops analytical reading and writing skills and Fang-yi Chao imaginative abilities that are crucial to individual growth Intermediate, Small seminar—Year | 6 credits and essential for citizens in any functioning society. This course is designed for students who have finished at least one year of Mandarin Chinese and for students who Courses offered in related disciplines this year are listed already have a basic knowledge of Chinese. The goal of below. Full descriptions of the courses may be found under this course is to help students to achieve intermediate-low the appropriate disciplines. level on the American Council on the Teaching of Foreign Intermediate Chinese (p. 27), Fang-yi Chao Chinese Languages (ACTFL) proficiency scale in Modern Standard Beginning Greek (p. 65), Emily Anhalt Greek (Ancient) Mandarin Chinese. Students will continue developing their Intermediate Latin (p. 82), Emily Anhalt Latin communicative skills upon the foundation acquired. Readings in Intermediate Latin (p. 82), Emily Anhalt Latin Students will reinforce and expand their language skills by First-Year Studies: Romanticism to Modernism in English- reading, listening, discussing, and writing about topics Language Poetry (p. 85), Neil Arditi Literature related to daily-life events. By the end of the year, students Theatre and the City (p. 86), Joseph Lauinger Literature will establish the ability to communicate in Mandarin The Forms and Logic of Comedy (p. 86), Fredric Smoler Chinese to satisfy personal needs and basic social Literature demands. Studies in Ecocriticism: The Idea of Nature in the Western Tradition (p. 87), Eric Leveau Literature Courses offered in related disciplines this year are listed Milton, Blake, and the Bible (p. 87), William Shullenberger below. Full descriptions of the courses may be found under Literature the appropriate disciplines. Can This Republic Be Saved? Cautionary Evidence From Ancient Rome (p. 88), Emily Anhalt Literature Chinese Literature, Folktales, and Popular Culture (p. 16), Toward a Theatre of Identity: Ibsen, Chekhov, and Ellen Neskar Asian Studies Wilson (p. 89), Joseph Lauinger Literature Virtue and the Good Life: Ethics in Classical Chinese Ancient Philosophy (Plato) (p. 115), Michael Davis Philosophy (p. 18), Ellen Neskar Asian Studies Philosophy CLASSICS Readings in Christian Mysticism: Late Antiquity (p. 137), Ron Afzal Religion Classics course offerings at Sarah Lawrence College To Hold the Unsayable: A Poetry Workshop (p. 183), Marie include Greek (Ancient) and Latin at the beginning, Howe Writing intermediate, and advanced levels, as well as literature courses in translation. Beginning language students COGNITIVE AND BRAIN acquire the fundamentals of Greek (Ancient) or Latin in SCIENCE one year and begin reading authentic texts. Intermediate and advanced students refine their language skills while Classes from disciplines such as biology, computer analyzing specific ancient authors, genres, or periods. science, mathematics, philosophy, and psychology comprise the classes available within this cross- disciplinary path. 28 Computer Science Courses offered in related disciplines this year are listed COMPUTER SCIENCE below. Full descriptions of the courses may be found under the appropriate disciplines. What is computer science? Ask a hundred computer General Biology Series: Genes, Cells, and Evolution (p. 20), scientists, and you will likely receive a hundred different Cecilia Phillips Toro Biology answers. One possible, fairly succinct answer is that Drugs and the Brain (p. 21), Cecilia Phillips Toro Biology computer science is the study of algorithms: step-by-step Genetics (p. 21), Drew E. Cressman Biology procedures for accomplishing tasks formalized into very Neurological Disorders (p. 22), Cecilia Phillips Toro Biology precise, atomic (indivisible) instructions. An algorithm Cell Biology (p. 23), Drew E. Cressman Biology should allow a task to be accomplished by someone Introduction to Computer Science: The Way of the who—or something that—does not even understand the Program (p. 28), James Marshall Computer Science task. In other words, it is a recipe for an automated Programming the Web: An Introduction (p. 29), Michael solution to a problem. Computers are tools for executing Siff Computer Science algorithms. (Not that long ago, a “computer” referred to a Artificial Intelligence and Society (p. 30), James Marshall person who computed!) Computer Science What are the basic building blocks of algorithms? The Environmental Imagination: Perspectives From the How do we go about finding algorithmic solutions to Social Sciences, Environmental Humanities, and the problems? What makes an efficient algorithm in terms of Arts (p. 42), Charles Zerner Environmental Studies the resources (time, memory, energy) that it requires? An Introduction to Statistical Methods and Analysis (p. 97), What does the efficiency of algorithms say about major Daniel King Mathematics applications of computer science such as cryptology, Multivariable Mathematics: Linear Algebra, Vector databases, and artificial intelligence? Computer-science Calculus, and Differential Equations (p. 98), Daniel courses at Sarah Lawrence College are aimed at answering King Mathematics questions such as those. Sarah Lawrence computer- The Philosophy of Music (p. 102), Martin Goldray Music science students also investigate how the discipline First-Year Studies: The Senses: Art and Science (p. 125), intersects other fields of study, including mathematics, Elizabeth Johnston Psychology philosophy, biology, and physics. First-Year Studies: Emotions and Decisions (p. 126), Maia Pujara Psychology Introduction to Computer Science: Sleep Health and Well-Being (p. 127), Meghan Jablonski The Way of the Program Psychology James Marshall Play and Imagination (p. 128), Anna Beresin Psychology Open, Small Lecture—Fall | 5 credits Finding Happiness and Keeping It: Insights From This lecture course is a rigorous introduction to computer Psychology and Neuroscience (p. 130), Maia Pujara science and the art of computer programming, using the Psychology elegant, eminently practical, yet easy-to-learn Theories of the Creative Process (p. 131), Charlotte L. Doyle programming language Python. We will learn the Psychology principles of problem-solving with a computer while Speaking the Unspeakable: Trauma, Emotion, Cognition, gaining the programming skills necessary for further study and Language (p. 131), Emma Forrester Psychology in the discipline. We will emphasize the power of Perspectives on Child Development (p. 132), Charlotte L. abstraction and the benefits of clearly written, well- Doyle Psychology structured programs, beginning with imperative Art and Visual Perception (p. 133), Elizabeth Johnston programming and working our way up to object-oriented Psychology concepts such as classes, methods, and inheritance. Along Emerging Adulthood (p. 133), Linwood J. Lewis Psychology the way, we will explore the fundamental idea of an The Mind-Body Connection: Psychophysiology Research algorithm; how computers represent and manipulate Seminar (p. 134), Maia Pujara Psychology numbers, text, and other data (such as images and sound) Theories of Agency and Action in Science Studies (p. 143), in binary; Boolean logic; conditional, iterative, and Adrianna Munson Sociology recursive programming; functional abstraction; file Stories and... (p. 178), Myra Goldberg Writing processing; and basic data structures such as lists and Edgy Memoirs (p. 180), Mary Morris Writing dictionaries. We will also learn introductory computer graphics, how to process simple user interactions via mouse and keyboard, and some principles of game design and implementation. All students will complete a final programming project of their own design. Weekly hands- on laboratory sessions will reinforce the concepts covered in class through extensive practice at the computer. THE CURRICULUM 29 Programming the Web: An engineering. With that in mind, this course is intended to Introduction be hands-on. Design and development techniques will be taught primarily by having each student design and Michael Siff implement a single software project over the entire school Open, Small Lecture—Spring | 5 credits year. Specific topics: design patterns, including Model- This seminar introduces the fundamental principles of View-Controller; separating user-interface particulars computer science, via the use of HTML and JavaScript, to from core algorithms; wireframe techniques; alpha vs. create interactive web pages. Examples of the kinds of beta testing; using distributed software versioning tools, web applications that we will build include: a virtual art such as GitHub; the role of abstract data types and precise gallery; a password generator and validator; and an old- API specification; code reviews; workshopping; and the school, arcade-style game. We will learn JavaScript less heralded—but crucially important—skills of programming from the ground up and demonstrate how it documentation writing, software testing, and project can be used as a general-purpose, problem-solving tool. management. Permission of the instructor is required. Throughout the course, we will emphasize the power of Students should have studied at least one (and preferably abstraction and the benefits of clearly written, well- more than one) semester of computer programming. structured code. We will cover variables, conditionals, loops, functions, arrays, objects, and event handling. We will also discuss how JavaScript communicates with Digital Disruptions hypertext markup language (HTML) via the document Michael Siff object model (DOM) and the relationship between HTML, Open, Seminar—Fall | 5 credits JavaScript, and cascading style sheets (CSS). Along the From TikTok to Zoom, from Bitcoin to Uber, from Instagram way, we will discuss the history of the web, the challenge to , to massively multiplayer online games, to the of establishing standards, and the evolution of tools and Internet of Things, and non-fungible tokens, digital techniques that drive the web’s success. We will learn technology plays an evermore "disruptive" role in society. about client-server architectures and the differences In this FYS seminar, we ponder where this phenomenon between client-side and server-side web programming. may be taking us in the immediate and not-so-immediate We will consider when it makes sense to design from the future and whether there is (or will be) anything we can ground up and when it might be more prudent to make use (or should) do about it. The miniaturization of electronic of existing libraries and frameworks rather than computers and the resulting increase in computing power, reinventing the wheel. We will also discuss the aesthetics the decrease in short-term cost to harness that power, and of web design: Why are some pages elegant (even art) the ubiquity of computer networks bring people and when others are loud, awkward to use, or—worse places together, making distances formerly thought of as yet—boring. Weekly hands-on laboratory sessions will insurmountable evermore trivial. With the advent of reinforce the programming concepts covered in class. No gigabit fiber-optic networks, smartphones, and wearable prior experience with programming or Web design is computers, information of all kinds can flow around the necessary (nor expected nor even desirable). world, between people and objects and back again, in an instant. In many ways, the plethora of smaller, cheaper, Software Design and Development faster networked devices improves our quality of life. But there is also a dark side of a highly connected society: the Michael Siff more smart phones, the more workaholics; the more text Intermediate, Seminar—Year | 10 credits messages exchanged and the easier the access to drones, Donald E. Knuth, one of the world's most distinguished the less privacy; the greater reach of the internet, the computer scientists, has said both that “computer faster the spread of misinformation and the more piracy, programs are fun to write” and that “software is hard.” The spam, and pornography; the more remote-controlled goal of this course is to give students a taste of what it is thermostats, the greater the risk of cyberterrorism. This like to design and develop real software. The quotes by seminar will focus on the relationship between digital Knuth illustrate two themes of this course that are not networks (the web, social networks, and beyond) to necessarily at odds: The challenge of writing good current events, including the economy, politics, and the software should not offset the pleasure derived from law. The second half of the course will focus on the writing it. Some of the main topics that we will cover cultural impact of digital technology ranging from video include the power of abstraction, the separation of design games and science fiction to the rise of artificial from implementation, version control, the selection of intelligence. This is not a technical course, though at times development environments, the creative use of existing we will discuss some details that lie behind certain crucial software libraries and tools, the benefits of a flexible technologies—in particular, the internet and the World approach, and the role of maintaining good Wide Web. While this course is open to all students, first- documentation. Nowere is the adage, “There is no year students may take the course as a regular seminar or substitute for experience,” more relevant than in software 30 Computer Science as their FYS seminar. In the latter case, students will have will consider AI from many angles, including historical, weekly conferences and be expected to enroll in philosophical, ethical, and public-policy perspectives. We Introduction to Web Programming in the spring as a will also examine many of the technical concepts and continuation of their FYS experience. achievements of the field in detail, as well as its many failures and setbacks. Throughout the course, students Principles of Programming will be asked to read texts, write responses, do follow-up research, and participate in classroom discussions. This is Languages not a programming course, and no background in James Marshall computer programming is expected or required. Intermediate, Seminar—Fall | 5 credits This course explores the principles of programming- language design through the study and implementation of Data Structures and Algorithms computer programs called interpreters, which are James Marshall programs that process other programs as input. A famous Intermediate, Seminar—Spring | 5 credits computer scientist once remarked that if you don't In this course, we will study a variety of data structures understand interpreters, you can still write programs—and and algorithms that are important for the design of you can even be a competent programmer—but you can’t sophisticated computer programs, along with techniques be a master. We will begin by studying functional for managing program complexity. Throughout the course, programming, using the strangely beautiful and recursive we will use Java, a strongly typed, object-oriented programming language Scheme. After getting comfortable programming language. Topics covered will include types with Scheme and recursion, we will develop an interpreter and polymorphism, arrays, linked lists, stacks, queues, for a Scheme-like language of our own design, gradually priority queues, heaps, dictionaries, balanced trees, and expanding its power in a step-by-step fashion. Along the graphs, as well as several important algorithms for way, we will become acquainted with the lambda calculus manipulating these structures. We will also study (the basis of modern programming-language theory), techniques for analyzing the efficiency of algorithms. The scoping mechanisms, continuations, lazy evaluation, central theme tying all of these topics together is the idea nondeterministic programming, and other topics if time of abstraction and the related notions of information permits. We will use Scheme as our "meta-language" for hiding and encapsulation, which we will emphasize exploring those issues in a precise, analytical way—similar throughout the course. Weekly lab sessions will reinforce to the way in which mathematics is used to describe the concepts covered in class through extensive, hands-on phenomena in the natural sciences. Our great advantage practice at the computer. Permission of the instructor is over mathematics, however, is that we can test our ideas required. Students should have at least one semester of about languages, expressed in the form of interpreters, by programming experience. directly executing them on the computer. No prior knowledge of Scheme is needed, but at least one semester Courses offered in related disciplines this year are listed of prior programming experience is expected. below. Full descriptions of the courses may be found under the appropriate disciplines. Artificial Intelligence and Society First-Year Studies: Climate Change (p. 40), Bernice James Marshall Rosenzweig Environmental Science Open, Seminar—Spring | 5 credits Geospatial Data (p. 41), Bernice Rosenzweig Environmental In recent years, the field of artificial intelligence (AI) has Science made astonishing technical progress and has begun to Calculus I: The Study of Motion and Change (p. 98), Philip assume an increasingly widespread and important role in Ording, Erin Carmody Mathematics society. AI systems can (at least to some extent) Multivariable Mathematics: Linear Algebra, Vector drive cars; recognize human faces, speech, and gestures; Calculus, and Differential Equations (p. 98), Daniel diagnose diseases; control autonomous robots; instantly King Mathematics translate text from one language to another; beat world- Mathematics in Theory and Practice: Real Analysis and champion human players at chess, Go, and other games; Topology (p. 98), Philip Ording Mathematics and perform many other amazing feats that just a few Classical Mechanics (Calculus-Based General decades ago were only possible within the realm of Physics) (p. 117), Merideth Frey Physics science fiction. This progress has led to extravagant Theories of Agency and Action in Science Studies (p. 143), expectations, claims, hopes, and fears about the future of Adrianna Munson Sociology AI technology and its potential impact on society. In this Measuring Difference: Constructing Race, Gender, and course, we will attempt to peer beyond the hype and to Ability (p. 144), Adrianna Munson Sociology come to grips with both the promise and the peril of AI. We THE CURRICULUM 31 Digital Imaging Studio (p. 169), Shamus Clisset Visual and First-Year Studies in Dance Studio Arts John Jasperse 3D Modeling (p. 169), Shamus Clisset Visual and Studio Open, FYS—Year | 10 credits Arts Students will enroll in a selection of movement practice Photogrammetry (p. 173), Shamus Clisset Visual and classes, as well as improvisation and an academic study of Studio Arts dance, that together will make up First-Year Studies in Dance. (Please refer to the course catalogue for the DANCE component class descriptions.) Students will be dancing in the studio every day. Throughout the fall semester, we’ll The Sarah Lawrence College dance program presents also meet weekly in the First-Year Studies in Dance undergraduate students with an inclusive curriculum that Project to dig deeper into the work that we are doing in our exposes them to vital aspects of dance through physical, dance classes. Some questions that we’ll examine include: creative, and analytical practices. Students are What roles has dance played in various cultures and encouraged to study broadly, widen their definitions of societies, both now and in the past? How has dance dance and performance, and engage in explorations of interacted with other art forms and other fields of study? form and function. What are the elements of dance? What can dance do, and Basic principles of functional anatomy are at the what can we do with dance? We’ll examine these and other heart of the program, which offers classes in modern and questions through reading and discussion, as well as postmodern contemporary styles, classical ballet, yoga, through experiments in dancing and by making short and African dance. Composition, improvisation, contact dances. Students will also meet in individual conferences improvisation, Laban motif, dance history, music for each week throughout the fall semester and in biweekly dancers, dance and media, teaching conference, classical conferences in the spring semester to develop their own Indian dance, lighting design/stagecraft, and performance project based on their own particular interests and the projects with visiting artists round out the program. material explored in class. This course will be taught by Each student creates an individual program and John Jasperse and various dance program faculty meets with advisers to discuss overall objectives and members. progress. A yearlong series of coordinated component courses, including a daily physical practice, constitute a Dance Third. In addition, all students taking a Dance Third Hard Times Require Furious Dancing: participate at least once each semester in movement Movement as Language in training sessions to address their individual needs with Performance, Politics, and Everyday regard to strength, flexibility, alignment, and coordination, as well as to set short- and long-term training goals. Life A variety of performing opportunities for Peggy Gould undergraduate and graduate students are available in both Open, Seminar—Year | 10 credits informal and formal settings. Although projects with guest This course begins with a close reading of Alice Walker’s choreographers are frequent, it is the students’ own 2010 collection of poems, Hard Times Require Furious creative work that is the center of their dance experience Dancing, as an entry into the multiple layers of meaning at the College. In order to support the performance aspect and complexity that movement can convey and to the of the program, all students are expected to participate in ways in which those layers of meaning serve to mobilize us the technical aspects of producing concerts. as individuals and as collectives. Acknowledging the We encourage the interplay of theatre, music, visual apparently limitless possibilities for defining dancing, arts, and dance. Music Thirds and Theatre Thirds may take dance, and movement, we will consider a range of specific dance components with the permission of the appropriate references as archetypes: staged performances, public/ faculty. political demonstrations, and quotidian choreographies In the interest of protecting the well-being of our that occur as a matter of course in natural and human- students, the dance program reserves the right, at our made settings. In additional to Alice Walker’s writing, texts discretion, to require any student to be evaluated by from fields including dance, performance, literary Health Services. criticism, feminism, science fiction, cultural studies, Prospective and admitted students are welcome to ethno-ecology, and activism, as well as examples of live observe classes. and recorded performance events (formal and informal), will serve as inspiration for reading, seeing, thinking, conversing, and writing throughout the year. Histories and perspectives of all participants will be called upon to illuminate those materials and translate them into our own words. Class activities will include reading, writing, 32 Dance discussion, and accessible movement practices. Each rhythm, range, and dynamic quality are systematically student will pursue independent research arising from one engaged, allowing students to gain strength, flexibility, or more class activities, which will include reading, writing, endurance, balance, musicality, and awareness in the and presentation. For students taking the course as a dance setting. While the primary emphasis is placed on regular seminar, conference work may build upon learning structured material, improvisation and independent research for class or may be configured as a composition are incorporated to support students’ separate project. The aim of this course is to extend our growing engagement with dance as an art form. Lacina recognition of movement and dancing as essential aspects Coulibaly will teach this course in the fall; Peggy Gould and of existence; to explore theoretical potentials inherent in Jenn Nugent in the spring. This class is open to all that study; and to incorporate new insights into our interested participants, with no prior experience in dance reading, thinking, conversation, and writing practices. This required. Students who have successfully completed this course may be taken as a component or 5-credit seminar course will be prepared to enter Contemporary Practice I (one semester) OR as a component or 10-credit seminar and/or Ballet I. (year). The yearlong open-level course may be taken as a regular seminar (in humanities or creative arts) OR as a Ballet component in dance, music or theatre. No prior experience in dance is necessary. Students who wish to join this Megan Williams, Sharon Milanese yearlong class in the second semester may do so with Component—Year interview and permission of the instructor. Ballet students at all levels will be guided toward creative and expressive freedom in their dancing, enhancing the qualities of ease, grace, musicality, and symmetry that Movement Studio Practice define this form. We will explore alignment, with an Peggy Gould, Jodi Melnick, Lacina Coulibaly, Jennifer emphasis on anatomical principles; we will cultivate Nugent, Janet Charleston, Jordan Demetrius Lloyd, awareness of how to enlist the appropriate neuromuscular Jasmine Hearn effort for efficient vmo ement; and we will coordinate all Component—Year aspects of body, mind, and spirit, integrating them In these classes, emphasis will be on the steady harmoniously. Students may enter this yearlong course in development of movement skills, energy use, strength, and the second semester with permission of the instructor. articulation relevant to the technical and aesthetic Megan Williams will teach this course in the fall; Sharon orientations of each teacher. At all levels, attention will be Milanese in the spring. given to sharpening each student’s awareness of time and energy and to training rhythmically, precisely, and in West African Dance accordance with sound anatomical principles. Degrees of complexity in movement patterns will vary within the Lacina Coulibaly leveled class structure. All students will investigate Component—Spring sensory experience and the various demands of This yearlong course will use physical embodiment as a performance. This course will be taught by various faculty, mode of learning about and understanding of African and there will be various levels of the course. diasporic cultures. In addition to physical practice, master classes led by artists and teachers regarded as masters in the field of African diasporic dance and music, along with Dance Movement Fundamentals supplementary study materials, will be used to explore the Peggy Gould, Lacina Coulibaly, Jennifer Nugent breadth, diversity, history, and technique of dances Component—Year derivative of the Africa diaspora. Afro Haitian, West Movement and dancing are definitive signs of life! In every African, Orisha dances (Lucumi, Afro Cuban), and social environment and at every level of existence, from single- dance are some genres that will be explored. Participation cell organisms to entire populations, dancing is innate to in year-end showings will provide students with the living beings. The objective here is to awaken/reawaken opportunity to apply studies in a performative context. students’ connection to movement as an elemental mode of human experience and learning. Students are Hip-Hop introduced to some basic principles of dancing, as well as to strategies for preparing for dancing. Building Matthew Lopez fundamental skills for a wide range of movement studies, Component—Fall the focus is centered on learning movement and refining An open-level course teaching and facilitating the practice individual, partnered, and group performance in a variety of hip-hop/urban dance technique and performance, the of patterns and styles. Basic anatomical information is class will examine the theory, technique, and vocabulary of used to facilitate an understanding of dynamic alignment and movement potentials. Challenges in coordination, THE CURRICULUM 33 hip-hop dance. The course will facilitate the student’s LEIMAY’s Ludus practice, using multiple physical development and ability to execute and perform hip-hop/ explorations to embody imagery and enlarge states of urban dance steps. consciousness, enabling multiple realms of perception while challenging eurocentric notions of body, space, and Yoga time. Each dancer’s physical potential will be cultivated to develop a unique movement language that is rooted in Patti Bradshaw butoh's ideas of transformation. Simultaneously, we will Component—Year focus on the conditioning of a conductive body through the This yoga class is designed with the interests of dancers identification of the body’s own weight in relation to and theatre students in mind. Various categories of gravity, along with the cultivation of internal rhythm and postures will be practiced, with attention to alignment, fluidity. Together, we will decentralize self-centered breath awareness, strength, and flexibility. The physical approaches to movement and explore the possibilities of practice includes seated and standing poses, twists, “being danced by” instead of “I dance,” “becoming space- forward bends and backbends, traditional yogic breathing body” rather than occupying space. We will challenge our practices, and short meditations. Emphasis is placed on body’s materiality and enliven our sensorium through mindfulness and presence. This approach allows the listening to the rhythms and textures of the nonhuman. student to gain tools for reducing stress and addressing And we will use impossibility as a spark to enrich the ways unsupportive habits to carry into other aspects of their in which we create and inhabit the world. This course is lives. Attention will be given to the chakra system as a based on principles developed through nearly two decades means and metaphor for postural, movement, and of Ximena’s study of butoh. Historical and cultural context character choices. The instructor has a background in will be offered throughout the course. This class is open to dance and object theatre, in addition to various dance, theatre, and any other students who are curious somatically-based practices that she draws upon for and interested in discovering alternative approaches to designing the classes to meet the individual needs of the body and movement practices. class members. Virtual attendance is a requirement. Improvisation in Dance as Real-Time Tai Ji Quan and Qi Gong Composition (Fundamentals) John Jasperse Sherry Zhang Component—Year Component—Fall Whenever we make something, we are Students will be introduced to the traditional Chinese improvising—making it up as we go. But imagination and practices of Tai Ji Quan and Qi Gong. These practices creativity isn’t random. It is true that artists of all engage with slow, deliberate movements, focusing on the disciplines have eureka moments and epiphanies, but breath, meditative practice, and posture to restore and those “” moments are born of practices that engage balance energy—called chi or Qi. The postures flow experimentation, strategies, observation, and decision- together, creating graceful dances of continuous motion. making—supported by states of concentration. Similarly, Sometimes referred to as one of the soft or internal the notions of “perfect forms” and “free improvisation” are martial arts, Tai Ji Quan and Qi Gong are foundational both theoretical impossibilities. Nothing is ever totally practices within a lifelong, holistic self-cultivation in fixed nor is it totally open. No matter what creative traditional Chinese culture. This class is open to dance, endeavor in which we are engaged, we are always in the theatre, and any other students who are curious and real world, in a space in between these two extremes. In interested in discovering alternative approaches to body this course, we will make dances in real time with varying and movement practices. degrees and types of determinacy. We’ll be guided by a wide variety of concerns and ways of focusing our choices Butoh Through LEIMAY Ludus but will be consistently aware that we are composing Ximena Garnica dance in real time. That will require honing our perceptual Component—Spring skills, as well as our skills of articulation and This course is an introduction to butoh through the lens of communication, with our collaborators. Throughout the LEIMAY’s Ludus practice, which is the embodied research year, we’ll develop our abilities both to build coherent being taught today by LEIMAY Artistic Director Ximena structures that will guide our choice-making and to notice Garnica. Butoh is a Japanese performing-art form that and make use of the serendipity that chance brings. This was created by Tatsumi Hijikata in the 1950s and 1960s. component is open to students with prior experience in The course will start with an introduction to Hijikata’s improvisation and dance-making, as well as to those new butoh-fu, a choreographic method that physicalizes to the form. imagery through words. The course will then expand into 34 Dance Movement Materials Lab time-based artworks that include live performance will design and direct individual projects. Students and faculty Jodi Melnick will meet weekly to view works-in-progress and discuss Component—Fall relevant artistic and practical problems, both in class on This course is a laboratory, focused on the creative Tuesday evenings and in conferences taking place on potential of human movement. We will explore how work Thursday afternoons. Attributes of the work across can come into being through the material itself, multiple disciplines of artistic endeavor will be discussed transformed through the phenomenon of dancing. While as integral and interdependent elements in the work. movements will be considered in terms of their Participation in mentored, critical-response feedback compositional relationships to one another, the embodied sessions with your peers is a key aspect of the course. The experience of our dancing and its kinesthetic resonance engagement with the medium of time in live performance, will be prioritized over cognitively defined, conceptual the constraints of presentation of the works both in works- concerns. The course will respect the intelligence of in-progress and in a shared program of events, and the intuition as we build aptitudes for play, manipulation, and need to respect the classroom and presentation space of expansion of movement palettes. A key focus throughout the dance studio will be the constraints imposed on the the course will be the honing of an artistic voice in the students’ artistic proposals. Students working within any creation of resonant dancing. number of live performance traditions are as welcome in this course as those seeking to transgress orthodox Choreographic Lab conventions. While all of the works will engage in some Johnnie Cruise Mercer way with embodied action, student proposals need not fall Component—Spring neatly into a traditional notion of what constitutes dance. This course is designed as an imaginative laboratory in The cultivation of open discourse across traditional choreographic practice. It is time and space for rigorous disciplinary artistic boundaries, both in the process of play, where we engage critically with our own respective developing the works and in the context of presentation to creative processes. All class sessions are devoted to the public, is a central goal of the course. The faculty choreographic practice in a mentored laboratory setting. members leading this course have roots in dance practice Students are charged with bringing in choreographic but also have practiced expansive definitions of dance proposals or ideas on which to work with their peers within their own creative work. This course will culminate during these sessions. Throughout the course, specific in performances of the works toward the end of the compositional and/or artistic concerns will be highlighted semester in a shared program with all enrolled students that will frame our investigations. Those concerns will be and within the context of winter and spring time-based art used to focus our critical analysis on an aspect of our events. Performances of the works will take place in the choice rather than as a score that defines the Bessie Schönberg Dance Theatre or elsewhere on campus choreographic proposal itself. Much of our work will focus in the case of site-specific work. on refining the process of choreographic practice in order to better understand how the processes with which we Performance Project engage shapes what we make. Beth Gill, Kyle Marshall Component—Year Guest Artist Lab Performance Project is a component where a visiting artist Component—Year or company is invited to create a work with students or to This course is an experimental laboratory that aims to set an existing piece of choreography. The works are expose students to a diverse set of current voices and performed for the College community at the end of the approaches to contemporary dance making. Each guest semester. Beth Gill will teach this course in the fall; Kyle artist will lead a module of three-to-seven class sessions. Marshall in the spring. These mini-workshops will introduce students to that artist and his/her creative process. Guests will present Music for Dancers: The Logic of emergent, as well as established, voices and a wide-range of approaches to contemporary artistic practice. Interaction William Catanzaro Component—Spring Live Time-Based Art This component will provide students with the opportunity Beth Gill, John Jasperse, Dean Moss to play a full array of percussion instruments from around Component—Year the globe: African djembes, Brazilian zurdos, Argentinian In this class, graduates and upper-class undergraduates bombo, Peruvian cajon and quijada, Indian tabla, with a special interest and experience in the creation of traditional traps, and more. Students will also be able to THE CURRICULUM 35 program and execute electronic drums, such as the settings. Studio practices—including movement, Wavedrum and Handsonic. The focus will be prevalent observation, discussion, and class exercises—will support toward enhancing a dancer’s full knowledge of music but in-depth exploration of teaching and learning as will expand the vocabulary for choreographers, actors, and intrinsically related aspects of education at its best. In composers, as well. The purpose of the component is to addition to work in the studio, independent research will grant students the tools needed to fully immerse entail surveying literature in the field of dance education themselves in the understanding of the relation of music, and training, as well as potential sources beyond the field, dance, and the performing arts. Students will expand their according to individual interests. Practical and theoretical knowledge of terminology and execution and will be able research will form the basis of a final presentation to learn the basic rudiments of notation. We will analyze (teaching one or more sections of the curricular plan) and the interaction of music from both intellectual and cultural a final written report with annotated bibliography, points of view. We will learn how to scan musical scores summarizing and documenting the development process, with various degrees of complexity and explore the diverse as well as providing a basis for future promotional rhythmic styles that have developed through time and material. through different geographical and social conditions. Classes will consist of group playing. All instruments will Anatomy be provided and made available for practice. Peggy Gould Component—Year Dance Teaching Methods How is it possible for us to move in the countless ways that Jennifer Nugent we do? Learn to develop your X-ray vision of human beings Component—Fall in motion through functional anatomical study that Throughout the semester we will work collectively to combines movement practice, drawing, lecture, and prioritize questions and dialogue that support an problem-solving. In this course, movement is a powerful understanding of what movement styles we are drawn to, vehicle for experiencing, in detail, our profoundly how we create, interpret, and organize ideas in movement adaptable musculoskeletal anatomy. We will learn Irene and how we might begin to share this information with Dowd’s Spirals—a comprehensive warm-up/cool-down for each other. Students will develop a self practice and dancing that coordinates all joints and muscles through investigate the intersection between this personal their fullest range of motion, facilitating study of the entire movement study and teaching inquiries as a means to musculoskeletal system. In addition to movement imagine and develop a class that is supportive to and practice, drawings are made as part of each week’s lecture inclusive of multiple movement levels and abilities. (drawing materials provided), and three short Working to describe the intangible and the experience of assignments will be submitted each semester. Insights movement itself we will refine how we filter this inside the and skills developed in this course can provide dance class and how it might be initiated or shared to tremendous inspiration in the process of movement enhance one's ability to access movement, increase invention and composition. Prior experience in dance and/ awareness, understand rhythm, technical structures, or athletics is necessary. Students who wish to join this perception, and humanity within the exchange of teaching. yearlong class in the second semester may do so with permission of the instructor. Dancing in Progress: Perspectives on Teaching and Learning Anatomy Research Seminar Peggy Gould Peggy Gould Component—Spring Component—Year Students in this course will develop skills to bring their This is an opportunity for students who have completed a artistry into a teaching setting, combining practical and full year of anatomy study in the SLC dance program to theoretical studies. We will work systematically and pursue functional anatomy studies in greater depth. In imaginatively to develop teaching practices in dance and open consultation with the instructor during class movement forms that move us most deeply, addressing meetings, each student engages in independent research, individual and collective concerns throughout the process. developing one or more lines of inquiry that utilize We will explore strategies for teaching a variety of functional anatomy perspectives and texts as an techniques, from codified dance forms to generative organizing framework. Research topics in recent years forms, including improvisation and composition. Over the have included investigation of motor and experiential course of the semester, with all members of the class learning, development of a unique warm-up sequence to serving as both teachers and students, each participant address specific individual technical issues, inquiry into will develop a cohesive plan for teaching in professional kinetic experience and its linguistic expression, detailed study of knee-joint anatomy, and study of the kinematics 36 Development Studies and rehabilitation in knee injury. The class meets biweekly periodic reports and multiple drafts of writing during each to discuss progress, questions, and methods for reporting, semester and will serve as readers for colleagues, as well. writing, and presenting research, alternating with weekly Qualified undergraduate students, including those who studio/practice sessions for individual and/or group have completed courses in Dance History or First-Year research consultations. Studies in Dance, may join this course with permission of the instructor. Lighting in Life and Art John Jasperse Dance Meeting Component—Year Component—Year Light is a form of electromagnetic radiation that allows us Dance Meeting convenes all undergraduate students to see. Light’s qualities and its interaction with space have enrolled in a five-credit Dance Third, a three-credit Dance profound effects on the affect of an experience. We all Study, or a one-credit Dance Study, along with all MFA in know that the feel of a midsummer afternoon is not the Dance graduate students, in meetings that occur roughly same as that of a cloudy, gray afternoon or a subway car or once a month. We gather for a variety of activities that a sunset or a night with a full moon. What qualities of light enrich and inform the dance curriculum. In addition to generate these disparate feelings? The art and practice of sharing department news and information, Dance Meeting crafting light is the subject of this component. We will features master classes by guest artists from New York examine the theoretical and practical aspects of light in City and beyond; workshops with practitioners in dance- multiple settings. This will begin with a practice of noticing related health fields; panels and presentations by what we might typically ignore. From there, we will distinguished guests, SLC dance faculty, and alumnae; and approach learning how to craft the conditions of light casting sessions for departmental performances created primarily, though not exclusively, within a theatrical by the Live Time-Based Art class. This course will be environment. Understanding the historical conventions of taught by various dance faculty guests. theatre—in particular, those of theatrical dance in the United States—will provide a point of to begin to Courses offered in related disciplines this year are listed think beyond those historical conventions. Emphasis will below. Full descriptions of the courses may be found under be on learning basic lighting skills, including those of the appropriate disciplines. stagecraft. Students will collaborate with, and create original lighting designs for, the Time-Based Art works Movement Observation I (p. 187), Susan Orkand Dance/ when such needs are appropriate to the artistic proposal. Movement Therapy Theatre and the City (p. 86), Joseph Lauinger Literature Conscience of the Nations: Classics of African Graduate Seminar: Independent Literature (p. 92), William Shullenberger Literature Research in Dance The Music of Russia (p. 103), Martin Goldray Music Peggy Gould First-Year Studies: The Senses: Art and Science (p. 125), Component—Year Elizabeth Johnston Psychology This is a research tutorial course that provides an Art and Visual Perception (p. 133), Elizabeth Johnston opportunity to explore foundational texts in dance and Psychology performance in the context of the Master of Fine Arts in The Sociology of Sports (p. 144), Shahnaz Rouse Sociology Dance program. With our programmatic focus on 1,001 Drawings (p. 166), John O’Connor Visual and Studio performance and choreography, there are, nevertheless, Arts important writings and discussions in our field that will be Site/Situation (p. 168), Gabriela Salazar Visual and Studio essential for students to engage as they prepare for Arts careers in dance and performance. In concert with our Performance Art (p. 170), Clifford Owens Visual and Studio reading and discussion, each student will undertake Arts substantive independent research and writing. The Senior Interdisciplinary Studio (p. 171), John O’Connor, emphasis is on developing a line or lines of inquiry, Riad Miah Visual and Studio Arts devising strategies with which to effectively and meaningfully follow learning pathways to produce well- DEVELOPMENT STUDIES crafted writing. This will entail identifying specific research topics, sources, and methods; engaging with Classes from disciplines such as anthropology, economics, those resources and practices; and reporting on the environmental studies, geography, history, politics, public process in successive stages. Projects will evolve policy, sociology, and writing comprise the classes throughout the year, culminating in a final revision of available within this cross-disciplinary path. writing and in-class presentation. Students will produce THE CURRICULUM 37 Courses offered in related disciplines this year are listed ECONOMICS below. Full descriptions of the courses may be found under the appropriate disciplines. At Sarah Lawrence College, economics is not taught as a Ethnographic Research and Writing (p. 7), Robert R. set of techniques for working in a static field but, rather, as Desjarlais Anthropology an evolving discipline. In the liberal-arts tradition, Sarah Global Modernism, Internationalism, and the Cold War: Lawrence students approach the study of economics by 1930s, 1960s, 1990s (p. 13), Gemma Sharpe Art addressing issues in historical, political, and cultural History context. Students analyze and evaluate multiple schools of Children, Families, and Identity (p. 185), Denisha Jones Art thought as they relate to actual situations—exploring, of Teaching from an economic perspective, topics such as Queer(ing) India: Literature, Film, and Law (p. 17), Shoumik globalization, growth and social policy, inequality, Bhattacharya Asian Studies capitalism, and the environment. Students who have What is Money? Economic and Legal Perspectives (p. 38), focused on economics have gone on to become union Jamee Moudud Economics organizers, join the Peace Corps, intern with United Political Economy of Global Climate Change (p. 38), An Li Nations agencies, enter law school, and enter graduate Economics programs in public policy and international development. Environmental and Ecological Economics: Theories and Policies (p. 38), An Li Economics First-Year Studies: Working USA: Intermediate Microeconomics (p. 39), Jamee Moudud American Workers in the Globalized Economics Political Economy Political Economy of Environmental Justice (p. 39), An Li Kim Christensen Economics Open, FYS—Year | 10 credits | Remote Political Economy of Cities (p. 39), An Li Economics Globalization, neoliberal political institutions, and Food, Agriculture, Environment, and Development (p. 61), information technology have created foundational Joshua Muldavin Geography changes in the structure and content of work, both in the Introduction to Development Studies: The Political Ecology United States and around the globe. These changes have of Development (p. 62), Joshua Muldavin Geography also had an enormous impact on workers’ traditional The Rise of the New Right in the United States (p. 62), modes of organizing and on their ability to pursue their Joshua Muldavin Geography economic and political interests. Today, only 6.7 percent of The Emergence of the Modern Middle East (p. 69), private-sector workers in the United States belong to Matthew Ellis History unions. Partly as a result, inequality in the United States Theories at Heart (p. 70), Antonia Carcelén-Estrada today rivals that of the pre-Depression 1920s, our (already History modest) welfare state is in retreat, and political discourse Nationalism (p. 71), Matthew Ellis History and policy have become increasingly reflective of the Decolonization and the End of Empire (p. 75), Matthew Ellis interests of the wealthy. This course will explore the state History of US workers (both native-born and immigrant) from the Queer(ing) India: Literature, Film, and Law (p. 90), Civil War to the present. We’ll examine the major changes Shoumik Bhattacharya Literature in the structure of the US economy (e.g., from small, An Introduction to Statistical Methods and Analysis (p. 97), competitive firms to huge, transnational oligopolies) and Daniel King Mathematics the implications of those changes on workers’ lives and African States in the International System: Imperialism, the possibilities for organizing. We’ll explore the history of Resistance, Development, Intervention (p. 120), Elke workers’ attempts to organize and the obstacles to their Zuern Politics success, including divisions by race, gender, nativity, and International Perspectives on Psychology (p. 126), /identity. We’ll examine recent Christopher Hoffman Psychology efforts—such as worker centers, social movement Sleep Health and Well-Being (p. 127), Meghan Jablonski unionism, and nonprofit organizing—to improve the Psychology conditions of workers outside a traditional union Doing Research With Young People (p. 132), Christopher framework. And, time permitting, we’ll compare the state Hoffman Psychology of the US labor movement with that of workers in selected Edgy Memoirs (p. 180), Mary Morris Writing countries. Requirements for the course include frequent short papers and periodic group presentations on the readings and a yearlong conference research project. During the fall semester, students will meet with the instructor weekly for individual conferences. In the spring, we will meet weekly or every other week, depending on the 38 Economics students’ needs and the progress of their conference banking, central banking, the nature of public debt, and projects. Required texts will include: Beaten Down, Worked international money. As a course in the subdisciplines of Up: The Past, Present, and Future of American Labor by law and economics, this class will introduce students to Steven Greenhouse, The Southern Key: Class, Race, and mainstream and critical approaches to both law and Radicalism in the 1930s and 1940s by Michael Goldfield, economics in regard to money, finance, markets, and To the Promised Land: Martin Luther King and the Fight for governance. It will be demonstrated throughout this Economic Justice by Michael Honey, and Making the course that core issues in law, such as those pertaining to Worker: Precarious Labor and the Fight for Global property and contracts, are deeply embedded in all Standards 1919-2019 by Eileen Boris. economic phenomena—including monetary ones.

Introduction to Economic Theory and Political Economy of Global Climate Policy Change Kim Christensen An Li Open, Lecture—Year | 10 credits | Remote Open, Large seminar—Fall | 5 credits Economics has a profound impact on all of our lives, from Climate change caused by greenhouse gas emissions will where we live and go to school to what we do for a living, be the number-one global threat of the 21st century. what we eat, and how we entertain ourselves. Economics Global warming has caused destructive effects on the is also crucially intertwined with the social and political environment and on human society and has pushed our issues that we care about, from global climate change to planet past the boundary within which humanity can poverty and discrimination. We begin this course with a safely operate. Scientists estimated that we had, at most, brief history of the US economy, including the economic one generation in which we could take actions to prevent impact of slavery, unpaid household labor, and us from going beyond the point of no return. In 2016, immigration. We then introduce a variety of approaches to parties to the Paris Agreement committed to a target of economic analysis, including neoclassical, Keynesian, keeping the increase in global average temperature to well behavioral, Marxian, and feminist. Finally, we’ll apply those below 2°C above pre-industrial levels; however, by far, contrasting theoretical perspectives to current economic almost no major industrialized or industrializing countries issues and controversies. Requirements include frequent, are doing enough to meet the target. Drawing on short, writing assignments and participation in both small- economics and interdisciplinary materials, this seminar group work in class and group conferences. will provide a political economy analysis of global climate change. Have economists been playing a constructive role What is Money? Economic and Legal in climate-change policies? Can we price carbon? How are interest groups in the society promoting and blocking Perspectives climate actions? How should we reform global institutions Jamee Moudud to promote climate actions? Who benefits from global Open, Lecture—Fall | 5 credits economic activities that cause global warming, and who The study of law is integral to the study of political bears the costs? Why is climate change also rooted in the economy. This fundamental premise is the point of global history of racial discrimination and gender departure of this course. While their politics were radically discrimination? By the end of this seminar, you will be able different, the British political economist Jeremy Bentham to form a holistic understanding of global climate change, and historian E. P. Thompson both emphasized the conduct political-economy research on climate change, centrality of law in society. Bentham stated: “Property and and make policy proposals. law are born together and die together. Before laws were made, there was no property; take away laws, and property ceases” (Bentham 1840, p. 139. Cited from Singer 2015, p. Environmental and Ecological 15). While, on the basis of his historical work, Thompson Economics: Theories and Policies concluded: “For I found that law did not keep politely to a An Li ‘level’ but was at every bloody level; it was imbricated Open, Seminar—Fall | 5 credits within the mode of production and productive relations Since the 19th century, generations of economists have themselves (as property-rights, definitions of agrarian analyzed the role of environment and natural resources in practice)…” (Thompson 1978, p. 96). Using the study of society and the economy. John Stuart Mill, a classical the subprime mortgage crisis of 2007/2008 as its point of economist, argued: “Is there not the Earth itself, its forests departure, this course will discuss the relationship and waters, and all other natural riches, above and below between law and money (which is, after all, a form of the surface? These are the inheritance of the human race, property), along with the nature and legal underpinnings and there must be regulations for the common enjoyment of finance and financial crises. The course will deal with of it....No function of government is less optional than the THE CURRICULUM 39 regulation of these things, or more completely involved in Political Economy of Environmental the idea of civilized society.” What property-right regimes Justice are proper for solving the “problem of the social cost”? Is privatization the only solution, as the market An Li fundamentalist economists have argued? Why do Open, Seminar—Spring | 5 credits developing countries have higher pollution levels? Are We frequently observe that the burden of environmental pollution activities migrating to developing countries? In harms and/or the benefit of environmental protection are most places in the developed world, environmental quality unequally distributed in a society. Within a nation, the has improved significantly in the past decades. How can underrepresented households, such as minorities in the we explain such progress? Should efficiency be the top United States, bear a disproportionate burden. Globally, concern in protecting the environment? How can we under the neoliberal regime, trade and financial incorporate equity and justice in environmental decision- lateralization have made it easier to transfer highly making? What political-economy factors are determining polluting economic activities to the Third World. Moreover, environmental policies? What do we mean by the capitalist development in the Third World has “sustainability”? By the end of the seminar, you will be increasingly deprived the rural communities and the urban able to apply theories of environmental economics and poor of their environmental rights. This course examines ecological economics to real-world problems, conduct ways in which environmental injustices may arise and independent research in environmental and ecological affect different people with different power in different economics, and form policy proposals. places. We will draw knowledge from multiple fields, such as economics, political science, sociology, environmental studies, geography, etc. We will examine the issue using Intermediate Microeconomics multiple methodologies and assess different policy Jamee Moudud options. Intermediate, Seminar—Fall | 5 credits What assumptions, methodologies, values, vision, and Political Economy of Cities theoretical foundations do microeconomists incorporate and rely upon for analyzing economic behavior at the An Li individual level? What insights, knowledge, inferences, Open, Large seminar—Spring | 5 credits and/or conclusions can be gleaned through examining Today, more than 50 percent of the world population—4.2 characteristics of individual firms, agents, households, billion people—live in urban areas. By 2050, the global and markets in order to understand capitalist society? urban population will more than double its current size, How do our theories of individual and business behavior and nearly 70 percent of the population in the world will inform our interpretation of distributional outcomes? live in cities. Understanding the economic future of human Among other topics, this semester-long seminar in societies requires understanding cities. As cities become intermediate microeconomics will offer an inquiry into hubs of innovation, trade, finance, and modern life, there is economic decision-making vis-à-vis: theories of demand also a rapid urbanization of inequity, inequality, and and supply; the individual (agents); households; injustice among class, race, and gender. In this seminar, consumption (consumer choice); theories of production we will examine modern cities from a political-economy and costs; theories of the firm; theories of markets, market perspective. We will discuss foundational and classical governance, and competition; prices and pricing theory; perspectives of cities, including the Chicago school; and business legal history. As a course that is designed for neoclassical economics and location theory; Marxist students interested in pursuing the study of economics at school; and feminist, poststructuralist, and postcolonial the graduate-school level, this course will provide a approaches. We will examine issues such as urban poverty rigorous analysis of theory and policy in the neoclassical and inequality, environmental degradation, job precarity, and political economy traditions. A central theoretical intercity and intracity social and economic dynamics, issue will be an engagement of the “governments versus rural-urban dynamics, and democratic governance of markets” dichotomy, which is at the heart of neoclassical cities. economics. This important theme will be addressed by investigating the rival treatments of institutions in Courses offered in related disciplines this year are listed neoclassical economics (new institutionalism) and the below. Full descriptions of the courses may be found under law and political economy tradition. Among other topics, the appropriate disciplines. we will analyze how these different approaches to Children in Imperial Projects (p. 8), Mary A. Porter institutions and the economy study cost-benefit analysis, Anthropology Pareto optimality, business competition, and the Coase Food, Agriculture, Environment, and Development (p. 61), Theorem. Students should be prepared to deploy their Joshua Muldavin Geography high-school level math skills in dealing with certain topics. 40 Environmental Science Introduction to Development Studies: The Political Ecology can also gain fundamental technical skills—including of Development (p. 62), Joshua Muldavin Geography experience with geographic information systems (GIS), The Rise of the New Right in the United States (p. 62), numerical modeling, and data science—which can be Joshua Muldavin Geography applied across disciplines. An Introduction to Statistical Methods and Analysis (p. 97), Daniel King Mathematics First-Year Studies: Climate Change Calculus I: The Study of Motion and Change (p. 98), Philip Bernice Rosenzweig Ording, Erin Carmody Mathematics Open, FYS—Year | 10 credits Calculus II: Further Study of Motion and Change (p. 98), Climate change will be the defining issue of the coming Erin Carmody Mathematics decades. Climate change threatens the ecosystems and Multivariable Mathematics: Linear Algebra, Vector infrastructure that human society relies upon and will Calculus, and Differential Equations (p. 98), Daniel impact most aspects of the global economy, policymaking, King Mathematics and day-to-day life. This FYS course will provide the basic Mathematics in Theory and Practice: Real Analysis and foundation in earth system science needed to understand Topology (p. 98), Philip Ording Mathematics why the planet is warming, drawing on fundamental Introduction to International Relations (p. 119), Yekaterina concepts of physics, chemistry, and biology. During the Oziashvili Politics spring semester, we’ll build upon this foundation to International Politics and Ethnic Conflict (p. 120), investigate the linkages between global climate, natural Yekaterina Oziashvili Politics ecosystems, and human society. We will explore topics The Psychology of Social Influence (p. 134), Gina Philogene such as biodiversity, land use, adapting to climate-change Psychology impacts, and the energy-systems transition needed to First-Year Studies: Borders, Nations, and Mobilities: A prevent catastrophic global warming. This class will Sociological Introduction (p. 142), Parthiban alternate biweekly individual conferences with biweekly Muniandy Sociology small-group workshops on climate data analysis, technical Theories of Agency and Action in Science Studies (p. 143), writing, and communicating science. Adrianna Munson Sociology Sociology of Global Inequalities (p. 143), Parthiban Muniandy Sociology Green Infrastructure Both Public and Private: The Social Construction of Family Bernice Rosenzweig Life (p. 143), Shahnaz Rouse Sociology Intermediate, Seminar—Fall | 5 credits The Sociology of Sports (p. 144), Shahnaz Rouse Sociology Green infrastructure has the potential to transform our Measuring Difference: Constructing Race, Gender, and cities, replacing asphalt and concrete with soil, vegetation, Ability (p. 144), Adrianna Munson Sociology and waterways. But while cities across the globe are now Writing Our Moment (p. 179), Marek Fuchs Writing developing green infrastructure plans to protect water Ecopoetry (p. 182), Marie Howe Writing resources, enhance biodiversity, and adapt to the impacts of global climate change, there is an ongoing debate on ENVIRONMENTAL SCIENCE what green infrastructure actually is. And there are still many remaining barriers to its broad implementation in Environmental science is the study of interactions our cities and suburbs. In this seminar, we will explore between and among earth, ecological, infrastructure, and green infrastructure through the lens of ecosystem social systems. The study of environmental science allows services—the regulating, provisioning, and cultural us to understand the processes behind many of our most benefits that natural ecosystems provide for free to urgent societal challenges, including climate change, humans. Through quantitative case studies and field visits water resource management, biodiversity conservation, to green infrastructure projects in Yonkers and New York public health, and environmental justice. Environmental City, we will learn about a variety of different types of science also provides a unique lens through which we can green infrastructure, including rain gardens, green roofs, study the dynamics of our planet—in settings as diverse as detention basins, and constructed wetlands. We will also a serene tidal marsh, an Arctic glacier, a wastewater learn about the challenges associated with assessing the treatment plant, or a community garden. performance of green infrastructure and will critically Students at Sarah Lawrence College have the evaluate existing green infrastructure plans and designs. opportunity to take environmental-science courses that Prerequisite: at least one course in environmental science provide the deep understanding needed to overcome the or biology. socioenvironmental challenges of the coming decades. In combination with courses in biology, chemistry, and physics, students can build the foundation required to conduct their own environmental-science research. They THE CURRICULUM 41 Geospatial Data Studies in Ecocriticism: The Idea of Nature in the Western Tradition (p. 87), Eric Leveau Literature Bernice Rosenzweig An Introduction to Statistical Methods and Analysis (p. 97), Open, Seminar—Spring | 5 credits Daniel King Mathematics Geospatial data are information associated with locations Calculus I: The Study of Motion and Change (p. 98), Philip on the surface of the Earth. This can include a variety of Ording, Erin Carmody Mathematics different types of data used in environmental science, Calculus II: Further Study of Motion and Change (p. 98), such as sample collection locations at a field study site, Erin Carmody Mathematics the areal extent of a forest biome, or the output generated Multivariable Mathematics: Linear Algebra, Vector by global climate models. The analysis of geospatial data Calculus, and Differential Equations (p. 98), Daniel also allows social scientists to identify disparities in King Mathematics access to natural resources or exposure to pollutants and Theories of Agency and Action in Science Studies (p. 143), hazards and has been critical to the study of Adrianna Munson Sociology environmental justice. This course provides an Both Public and Private: The Social Construction of Family introduction to foundational concepts in geodesy, Life (p. 143), Shahnaz Rouse Sociology cartography, and geostatistics, along with practical The Sociology of Sports (p. 144), Shahnaz Rouse Sociology experience in geospatial data analysis using open-source Ecopoetry (p. 182), Marie Howe Writing geographic information systems (GIS) software. Although we will focus primarily on environmental applications, the skills learned in this course can be utilized in many natural ENVIRONMENTAL STUDIES and social-science disciplines—and can also help you Environmental studies at Sarah Lawrence College is an avoid getting lost! engagement with human relationships to the environment through a variety of disciplines. Sarah Lawrence’s Courses offered in related disciplines this year are listed environmental studies program, a critical component of a below. Full descriptions of the courses may be found under liberal-arts education, is an intersection of knowledge- the appropriate disciplines. making and questions about the environment that are General Biology Series: Genes, Cells, and Evolution (p. 20), based in the humanities, the arts, and the social and Cecilia Phillips Toro Biology natural sciences. Sarah Lawrence students seeking to Evolutionary Biology (p. 21), Michelle Hersh Biology expand their knowledge of environmental studies are General Biology Series: Ecology (p. 21), Michelle Hersh encouraged to explore the interconnections between Biology disciplinary perspectives while developing areas of Animal Behavior (p. 22), Malcolm Rosenthal Biology particular interest in greater depth. The environmental Animal Communication (p. 23), Malcolm Rosenthal Biology studies program seeks to develop students’ capacities for Microbiology (p. 23), Michelle Hersh Biology critical thought and analysis, applying theory to specific Plant Systematics and Evolution (p. 23), Kenneth G. Karol examples from Asia, Africa, and the Americas and making Biology comparisons across geographic regions and historical General Chemistry I (p. 25), Colin Abernethy Chemistry moments. Nutrition (p. 25), Mali Yin Chemistry Courses include environmental justice and politics, Organic Chemistry I (p. 25), Mali Yin Chemistry environmental history and economics, policy and Organic Chemistry II (p. 26), Sean Boson Chemistry development, property and the commons, environmental Political Economy of Global Climate Change (p. 38), An Li risk and the rhetoric of emerging threats, and cultural Economics perspectives on nature, as well as courses in the natural Environmental and Ecological Economics: Theories and sciences. Policies (p. 38), An Li Economics Environmental studies offers an annual, Political Economy of Environmental Justice (p. 39), An Li thematically-focused colloquium: Intersections: Boundary Economics Work in Science and Environmental Studies. This series Political Economy of Cities (p. 39), An Li Economics brings advocates, scholars, writers, and filmmakers to the The Environmental Imagination: Perspectives From the College, encouraging conversations across the disciplines Social Sciences, Environmental Humanities, and the among students, faculty, and guest speakers, as well as Arts (p. 42), Charles Zerner Environmental Studies access to new ideas and lively exchanges. Students may Intermediate French III: Soil, Nature, and Culture in participate in internships during the academic year or in Contemporary France (p. 59), Eric Leveau French rural and urban settings across the country and Food, Agriculture, Environment, and Development (p. 61), throughout the world during the summer. Guest study at Joshua Muldavin Geography Reed College (Portland, Oregon), the Council on Introduction to Development Studies: The Political Ecology International Educational Exchange (Portland, Maine), the of Development (p. 62), Joshua Muldavin Geography semester in environmental science at the Marine 42 Environmental Studies Biological Laboratory (Woods Hole, Massachusetts), and The Environmental Imagination: other programs are available to qualified Sarah Lawrence Perspectives From the Social students. Vibrant connections across the faculty mean that students can craft distinctive competencies while Sciences, Environmental Humanities, building a broadly based knowledge of environmental and the Arts issues, problems, policies, and possibilities. Charles Zerner Intermediate/Advanced, Seminar—Year | 10 credits The Animal “Climate change” covers a variety of hydrological, thermal, Kate Zambreno geological, and atmospheric crises that are intersecting Open, Small Lecture—Year | 10 credits | Remote and accelerating in scope and intensity. Inspired by Youth This yearlong lecture series will be an ecological and Poet Laureate Amanda Gorman historical meditation and interrogation on how we, as (https://www.youtube.com/watch?v=xwOvBv8RLmo) humans, have looked at the nonhuman—the animal—and, performing her poem Earthrise, this course invites a as we wonder, how the animal has looked back at us. In the conversation that draws together the social sciences, the fall, we will engage with the site of the zoo historically, humanities, and the arts: a journey through the global including the origins of the medieval Wunderkammer and climate crisis on a variety of scales, in specific contexts, its evolution into the zoological garden and natural history and through diverse media. Fiction and nonfiction writing, diorama, and into the contemporary zoo and online animal history, and film will be drawn upon to investigate cam. We will consider these melancholy and ambivalent understandings of an epoch controversially called “the psychic spaces with complex and violent histories through Anthropocene.” What do these different perspectives, narratives of captivity and freedom. In dialogue with John methods, and insights bring to our perceptions of specific Berger’s essay, “Why Look at Animals?”—as well as environments? How do different rhetorical formations, theories by Donna Haraway, Saidiya Hartman, Giorgio imaginaries, narratives, and visual images inform cognitive Agamben, Jacques Derrida, and others—we will ask: Why and affective responses to the Anthropocene? What do are zoos so sad? Also, when we are there, are the animals they bring to our understanding of the global watching us in turn? When we are not there to visit them, environmental emergency that is the signature of this do the animals actually miss us, as narratives during the moment in planetary history? How do interventions in the pandemic have suggested? Besides readings from arts and humanities constitute acts of “world- philosophy, political theory, affect theory, and cognitive making”—new ways of seeing, feeling, and imagining studies, we will discuss literature that stems from the site human ways of caring for this planet? In conjunction with of the zoo and enclosed space: poems, essays, stories, and the literatures of political ecology and cultural novels by David Wojnarowicz, Lydia Davis, Rainer Maria anthropology, we will read fiction by authors such as Rilke, Thalia Field, Yoko Tawada, W. G. Sebald, Clarice Amitav Ghosh and Stanislas Lem; nonfiction by Robert Lispector, Judith Schalansky, Bhanu Kapil, and Helen MacFarlane (Underlands), Ben Ehrenreich (Desert Macdonald. We will also be thinking about films and Notebooks), Joseph Masco (irradiated landscapes in the photography that document looking at the animal by Chris American West), Kate Brown (Plutopia), and Madeleine Marker, Peter Hujar, Hiroshi Sugimoto, Masahisa Fukase, Watts (The Inland Sea). This course is offered to students and others. In the spring, we will intensify our focus on at an intermediate or advanced level. It is not open to literatures and consciousness of the animal, thinking students who have taken Environmental Humanities: An through the animal as subject, friend, and parable. We will Introduction. discuss the strangeness of children’s books that are about teaching animals to children, counterpointed by our Courses offered in related disciplines this year are listed alienation and longing toward the animals‘ inner lives. We below. Full descriptions of the courses may be found under will engage with not only Alice in Wonderland but also the appropriate disciplines. Kanai Mieko’s “Rabbits,” Franz Kafka and BoJack Horseman, and the painter Paula Rego’s fairytales that Ethnographic Research and Writing (p. 7), Robert R. conjure up Disney. We will read the novels Elizabeth Desjarlais Anthropology Costello by J. M. Coetzee, The Friend by Sigrid Nunez, and Evolutionary Biology (p. 21), Michelle Hersh Biology Fever Dream by Samanta Schweblin. The entire year will General Biology Series: Ecology (p. 21), Michelle Hersh be a bestiary, populated with polar bears, buffalo, crows, Biology panthers, cows, beluga whales, coyotes, cats, dogs, Microbiology (p. 23), Michelle Hersh Biology elephants, horses, parrots, rabbits, bees, and large Plant Systematics and Evolution (p. 23), Kenneth G. Karol monkeys. By class time each Thursday, students will Biology submit weekly responses to the reading, as well as Political Economy of Global Climate Change (p. 38), An Li questions for the weekly one-hour discussion each Friday. Economics The final each semester will be a 12- to 18-page essay. THE CURRICULUM 43 Environmental and Ecological Economics: Theories and Advanced Intermediate Spanish: Political Policies (p. 38), An Li Economics Creativity (p. 146), Heather Cleary Spanish Political Economy of Environmental Justice (p. 39), An Li Architecture Design Studio: Heavy–Light (p. 167), Miku Economics Dixit Visual and Studio Arts Political Economy of Cities (p. 39), An Li Economics Architecture Design Studio: Enclosure and First-Year Studies: Climate Change (p. 40), Bernice Environment (p. 167), Miku Dixit Visual and Studio Rosenzweig Environmental Science Arts Green Infrastructure (p. 40), Bernice Rosenzweig Site/Situation (p. 168), Gabriela Salazar Visual and Studio Environmental Science Arts Geospatial Data (p. 41), Bernice Rosenzweig Environmental The Matter in Material (p. 168), Gabriela Salazar Visual and Science Studio Arts First-Year Studies: Media Sketchbooks (p. 49), Robin Art and the Climate Crisis (p. 172), Gabriela Salazar Visual Starbuck Filmmaking and Moving Image Arts and Studio Arts Intermediate French III: Soil, Nature, and Culture in First-Year Studies: After Nature: On Writing the Contemporary France (p. 59), Eric Leveau French Environment (p. 175), Kate Zambreno Writing Food, Agriculture, Environment, and Development (p. 61), Ecopoetry (p. 182), Marie Howe Writing Joshua Muldavin Geography Introduction to Development Studies: The Political Ecology ETHNIC AND DIASPORIC of Development (p. 62), Joshua Muldavin Geography STUDIES The Rise of the New Right in the United States (p. 62), Joshua Muldavin Geography Ethnic and diasporic studies as an academic discipline lie Theories at Heart (p. 70), Antonia Carcelén-Estrada at the intersection of several increasingly powerful History developments in American thought and culture. First, Environmental Politics, Informality, and Democracy in interdisciplinary and comparative scholarship has become Brazilian History (p. 72), Jesse Horst History so prevalent as to represent a dominant intellectual norm. First-Year Studies: Difficultomxn W of the Second, the use of this new scholarly methodology to meet Americas (p. 85), Heather Cleary Literature new academic needs and illuminate new subject matter Studies in Ecocriticism: The Idea of Nature in the Western has given rise to a plethora of discourses: women’s Tradition (p. 87), Eric Leveau Literature studies; Native American studies; African American Milton, Blake, and the Bible (p. 87), William Shullenberger studies; gay, lesbian, and transgender studies; and global Literature studies. Third, and perhaps most important, there has Conscience of the Nations: Classics of African been a growing recognition, both inside and outside Literature (p. 92), William Shullenberger Literature academia, that American reality is incorrigibly and An Introduction to Statistical Methods and Analysis (p. 97), irremediably plural and that responsible research and Daniel King Mathematics pedagogy must account for and accommodate this fact. Crossing Borders and Boundaries: The Social Psychology of We define ethnic and diasporic studies (loosely) as Immigration (p. 127), Gina Philogene Psychology the study of the dynamics of racial and ethnic groups (also Urban Health (p. 130), Linwood J. Lewis Psychology loosely conceived) who have been denied, at one time or Food Environments, Health, and Social Justice (p. 130), another, the full participation and the full benefits of Magdalena Ornstein-Sloan Psychology citizenship in American society. We see these dynamics as Art and Visual Perception (p. 133), Elizabeth Johnston fascinating in and among themselves but also feel that Psychology studying them illuminates the entire spectrum of Environmental Psychology: An Exploration of Space and humanistic inquiry and that a fruitful cross-fertilization Place (p. 133), Magdalena Ornstein-Sloan Psychology will obtain between ethnic and diasporic studies and the The Psychology of Social Influence (p. 134), Gina Philogene College’s well-established curricula in the humanities, the Psychology arts, the sciences, and the social sciences. First-Year Studies: Borders, Nations, and Mobilities: A Sociological Introduction (p. 142), Parthiban Courses offered in related disciplines this year are listed Muniandy Sociology below. Full descriptions of the courses may be found under Theories of Agency and Action in Science Studies (p. 143), the appropriate disciplines. Adrianna Munson Sociology Bad Neighbors: Sociology of Difference, Diversity, and Ethnographic Research and Writing (p. 7), Robert R. Cosmopolitanism in the City (p. 143), Parthiban Desjarlais Anthropology Muniandy Sociology Childhood Across Cultures (p. 7), Deanna Barenboim Lineages of Utopia (p. 144), Shahnaz Rouse Sociology Anthropology 44 Ethnic and Diasporic Studies Telling Lives: Life History in Anthropology (p. 7), Mary A. Reconstructing Womanhood II: Writers and Activists in the Porter Anthropology United States, 1930–1990 (p. 76), Lyde Cullen Sizer Immigration and Identity (p. 7), Deanna Barenboim History Anthropology Gender, Education, and Opportunity in Africa (p. 77), Mary Children in Imperial Projects (p. 8), Mary A. Porter Dillard History Anthropology Intermediate Latin (p. 82), Emily Anhalt Latin Faking Families (p. 8), Mary A. Porter Anthropology Milton, Blake, and the Bible (p. 87), William Shullenberger Indigenous Mobilities (p. 9), Deanna Barenboim Literature Anthropology Can This Republic Be Saved? Cautionary Evidence From Global Modernism, Internationalism, and the Cold War: Ancient Rome (p. 88), Emily Anhalt Literature 1930s, 1960s, 1990s (p. 13), Gemma Sharpe Art Queer(ing) India: Literature, Film, and Law (p. 90), History Shoumik Bhattacharya Literature Home/Nation: 20th-Century Asian Art–via New Crime, Punishment, and Freedom in African American York (p. 14), Gemma Sharpe Art History Literature (p. 91), Elias Rodriques Literature Queer(ing) India: Literature, Film, and Law (p. 17), Shoumik Conscience of the Nations: Classics of African Bhattacharya Asian Studies Literature (p. 92), William Shullenberger Literature Global Queer Literature: Dystopias and Hope (p. 18), Cold War Black Feminism (p. 93), Elias Rodriques Shoumik Bhattacharya Asian Studies Literature Hard Times Require Furious Dancing: Movement as Global Queer Literature: Dystopias and Hope (p. 93), Language in Performance, Politics, and Everyday Shoumik Bhattacharya Literature Life (p. 31), Peggy Gould Dance African American Poetry After Emancipation (p. 95), Elias West African Dance (p. 32), Lacina Coulibaly Dance Rodriques Literature Hip-Hop (p. 32), Matthew Lopez Dance Ralph Ellison’s Invisible Man in Context (p. 95), Elias Tai Ji Quan and Qi Gong (Fundamentals) (p. 33), Sherry Rodriques Literature Zhang Dance Global Circulations: Art and Pop Music of Asia (p. 103), Media Lab: Youth Education and Community Niko Higgins Music Engagement (p. 51), Yeong Ran Kim Filmmaking and Sounding Creativity: Musical Improvisation (p. 103), Niko Moving Image Arts Higgins Music Visions of Social Justice (p. 52), Damani Baker Filmmaking Critical Race Theory: Philosophical Perspectives (p. 113), and Moving Image Arts Carmen De Schryver Philosophy Food, Agriculture, Environment, and Development (p. 61), Decolonizing Philosophy (p. 114), Carmen De Schryver Joshua Muldavin Geography Philosophy Introduction to Development Studies: The Political Ecology International Perspectives on Psychology (p. 126), of Development (p. 62), Joshua Muldavin Geography Christopher Hoffman Psychology The Rise of the New Right in the United States (p. 62), Crossing Borders and Boundaries: The Social Psychology of Joshua Muldavin Geography Immigration (p. 127), Gina Philogene Psychology Beginning Greek (p. 65), Emily Anhalt Greek (Ancient) Childhood Across Cultures (p. 128), Deanna Barenboim First-Year Studies: Literature, Culture, and Politics in US Psychology History (p. 67), Lyde Cullen Sizer History Urban Health (p. 130), Linwood J. Lewis Psychology The Emergence of the Modern Middle East (p. 69), Immigration and Identity (p. 131), Deanna Barenboim Matthew Ellis History Psychology Class, Race, Gender, Work: Readings in US Labor Doing Research With Young People (p. 132), Christopher History (p. 70), Priscilla Murolo History Hoffman Psychology Social Protest and Cultural Critique: A Cultural and Emerging Adulthood (p. 133), Linwood J. Lewis Psychology Intellectual History of the United States (p. 70), Lyde From Secure Communities to the DREAM Act: Critical Cullen Sizer History Themes and Reflections in Immigration Policy, the Theories at Heart (p. 70), Antonia Carcelén-Estrada Livelihoods of Migrants, and Societal History Inequality (p. 135), Luisa Laura Heredia Public Policy Nationalism (p. 71), Matthew Ellis History Gold Hoops, Red Lipstick, and YHLQMDLG: The Cultural in Reconstructing Womanhood I: Writers and Activists in the Everyday Politics and The Political in Everyday United States, 1830–1930 (p. 73), Lyde Cullen Sizer Culture (p. 135), Luisa Laura Heredia Public Policy History The Holocaust (p. 136), Glenn Dynner Religion Gendered Histories of Sickness and Health in Africa (p. 74), Jewish Life in Eastern Europe: A Diaspora Case Mary Dillard History Study (p. 137), Glenn Dynner Religion Decolonization and the End of Empire (p. 75), Matthew Ellis Modern Jewish Literature (p. 138), Glenn Dynner Religion History THE CURRICULUM 45 Perspectives on 9/11: Religion, Politics, and this history, the class will ask what it means to be a Culture (p. 138), Kristin Zahra Sands Religion feminist filmmaker and woman worker, as well as a Jewish Autobiography: Between History & feminist-oriented media historian. This course will Literature (p. 139), Glenn Dynner Religion investigate a range of interrelated questions: What types First-Year Studies: Borders, Nations, and Mobilities: A of work have women performed within the film industry? Sociological Introduction (p. 142), Parthiban In what ways have opportunities for women evolved over Muniandy Sociology time? How have social, cultural, political, and industrial Sociology of Global Inequalities (p. 143), Parthiban factors shaped opportunities available to women and the Muniandy Sociology types of work that they create? How have women Both Public and Private: The Social Construction of Family addressed racial, ethnic, gender, and sexual identities both Life (p. 143), Shahnaz Rouse Sociology on screen and in the workplace? Are there distinctive Bad Neighbors: Sociology of Difference, Diversity, and stylistic or narrative preoccupations that characterize Cosmopolitanism in the City (p. 143), Parthiban films directed and produced by women? In what ways has Muniandy Sociology “difference” affected opportunities available to diverse The Sociology of Sports (p. 144), Shahnaz Rouse Sociology women and the stories that get to be told? What does it Advanced Beginning Spanish: Forms of Culture in the mean to practice “feminist” filmmaking, criticism, and Information Age (p. 146), Eduardo Lago Spanish history? And, finally, how might highlighting the Literatures From the Spanish-Speaking World: Poetry and experiences of women directors and other participants in the Short Story (p. 147), Eduardo Lago Spanish the film world cause us to rewrite dominant film histories? Stories and... (p. 178), Myra Goldberg Writing To address these questions, we will study a diverse body of Edgy Memoirs (p. 180), Mary Morris Writing feature films, shorts, documentaries, and avant-garde Ecopoetry (p. 182), Marie Howe Writing films created by the labor of both the renowned and the unsung. FILM HISTORY

Sarah Lawrence students approach film, first and Body, Gesture, Cinema foremost, as an art. The College’s film history courses take Seth Watter social, cultural, and historical contexts into account; but Open, Lecture—Fall | 5 credits | Remote films themselves are the focus of study and discussion. Almost all films contain persons, bodies; they have filled Students seek artistic value equally in Hollywood films, art up the frame since the medium’s inception. But the human films, avant-garde films, and documentaries, with figure on film is always a variable object of inquiry, emphasis on understanding the intentions of filmmakers changing in accord with its investigator’s purpose. This and appreciating their creativity. course offers a survey of approaches to the conception, As a valuable part of a larger humanistic education in analysis, and measurement of the filmed human figure. the arts, the study of film often includes the exploration of The course consists of four units broken down by key connections to the other arts, such as painting and concepts: natural history, picture composition, social literature. Close association with the filmmaking and institutions, and fictionality. In doing so, we will also view a visual arts departments enables students working in those diverse set of films: scientific research films, avant-garde areas to apply their knowledge of film to creative projects. films, ethnographic films, and mainstream feature films. And within the discipline, the study of film gives students By a combination of weekly reading, viewing, and insight into stylistic techniques and how they shape independent research, students will become attuned to meaning. Advanced courses in specific national genres, new aspects of the human figure—to styles of forms, movements, and filmmakers—both Western and performance, styles of making films, and the different non-Western—provide a superb background in the history ways of “reading” both. Previous familiarity with formal of film and a basis for sound critical judgment. Students film analysis is useful but not required. benefit from New York City’s enormously rich film environment, in which film series, lectures, and festivals New Hollywood Cinema run on a nearly continuous basis. Michael Cramer Open, Lecture—Spring | 5 credits American Feminist Film History This course will examine the so-called “New Hollywood Tanya Goldman Cinema”: the films and filmmakers who reinvigorated the Open, Large Lecture—Fall | 5 credits Hollywood studio system in the late 1960s, only to be This course explores the history of American cinema by displaced by the blockbuster and “high-concept” films examining the contributions of directors, that followed. Films of the period will be examined within producers, actresses, and behind-the-scenes workers the context of industrial and cultural history, with special from the silent era to the end of the 1990s. In surveying attention paid to the changing dynamics within the 46 Film History American film industry and to the cultural shifts that these which the documentary form has evolved over time and films both responded to and expressed. These issues will the different ways that we might reinterpret creative film be approached through a study of the form and style of the traditions and movements through the lens of the films of the era, with attention to how they revise or “documentary impulse.” How does reading experimental respond to more classical Hollywood approaches, how films that make use of nonfictive footage cause us to they appropriate and repurpose techniques derived from rethink the experimental media and documentary genres European “art cinema,” and how they develop their own and their histories? The course will explore this question genres or “cycles.” Other topics to be covered include: by considering city symphonies, compilation films, youth and counterculture; changing representations of educational films, essay films, nature films, and more. gender, class, and race; the decline of long-standing forms Screenings will include works by Santiago Alvarez, of self-censorship; and the dramatic liberalization of Brakhage, Su Friedrich, Harvard Sensory Ethnography Lab, attitudes toward depictions of sex and violence. Directors Jonas Mekas, and Dziga Vertov, as well as many to be covered include Martin Scorsese, Terrence Malick, contemporary artists working today. Francis Ford Coppola, Sam Peckinpah, Elaine May, and Robert Altman. Decolonizing Cinema: Insurgent Forms and Revolutionary Storytelling The Action Genre Dominic Leppla Tanya Goldman Open, Seminar—Fall | 5 credits Open, Lecture—Spring | 5 credits This seminar explores the notion of a decolonized cinema Often derided as formulaic, politically conservative, overly as it has emerged from anticolonial contexts, revolutionary macho, or just downright “dumb,” action films are often nation-building, as well as the struggles of nations within considered of low cultural value. But, increasingly, nations. How has cinema wrestled with and deconstructed scholars have shown that action movies are a fruitful site settler-colonial ideologies and tropes that both outwardly for investigating the politics of race, gender, and sexuality. and internally oppress (previously) colonized peoples? We This course will begin by historicizing the roots of cinema will look to the experience of late 1960s–early 1980s Third as a spectacular form, briefly surveying early generic Cinema in Central and South America—both in constructs such as chase films, female-driven silent revolutionary cinematic manifestos (Solanas and Gettino; serials, swashbuckling adventures, westerns, and sword- Julio García Espinosa, et al) and in remarkable bodies of and-sandal epics. We will then turn our main focus to work from Brazil, West Africa, the Indian Subcontinent, contemporary examples of action cinema from the 1980s and Palestine. Further, we will seek to link these to the present and consider the evolution of formal style approaches to what Barry Barclay has called Fourth and special effects, the popularity of global film Cinema, or politically engaged work produced by franchises, stardom, and transcultural exchange. Through indigenous filmmakers. We will consider the benefits and close readings of depictions of tropes such as the ’80s pitfalls of making revolutionary cinema within a state- “hard-bodied” action hero, strong female leads, funded context; for example, the National Film Board of superheroes, buddy cops, and villainous “others,” we will Canada (NFB) or Documentary Australia Foundation consider how the action genre defines and deconstructs (DAF). Finally, we will examine the emerging links between notions of race, ethnicity, gender, sexuality, and the such movements and radical Black and brown filmmaking corporeal—and, in turn, how their representations reflect today—from the inspirations of the “L.A. Rebellion,” made historical, political, social, and cultural anxieties. In-class on Hollywood’s doorstep, to attempts at finding a wider screenings will include recent action films, such as Fate of audience for such filmmaking through what some might the Furious, Mad Max: Fury Road, and Terminator: Dark consider Faustian pacts with platforms like , to Fate, and works by directors such as Kathryn Bigelow, ultimately exploring the notion of a global cinema of Michael Bay, and John Woo, among others. resistance.

Experimental Documentary Cinema and Antifascist Aesthetics: Tanya Goldman From World War II to the Present Open, Seminar—Fall | 5 credits Dominic Leppla This seminar explores the intersection between Open, Seminar—Fall | 5 credits documentary and experimental film. While these two How can film’s unique ability to picture history illuminate practices may initially seem at odds, artists have long the fight against the resurgence of white supremacist combined cinema’s ability to capture nonfiction footage ideals? This seminar approaches the idea of antifascist with the capacity to retrain perception and present film aesthetics through an examination of filmmaking “reality” in visually and aurally inventive ways. In this about fascism and World War II following the 75th course, “experimental documentary” suggests ways in THE CURRICULUM 47 anniversary of the war’s end. We will look at wartime latter is particularly relevant for its impact on reform-era propaganda docs and landmark features about anti/ filmmakers. Other readings will focus specifically on fascism from luminaries like Lang, Welles, Resnais, and cinema, ranging from broad historical overviews on the Oshima, connecting these with the fight against white material/financial conditions of production, distribution, supremacy and colonialism explored by writers such as and exhibition; close analyses of individual films; the Aimé Césaire and filmmakers like Djibril Diop Mambéty. transition from socialist to postsocialist cinema and the From the use of violent genre cinema in attempting to construction of “Chineseness” as a object for the Western discuss fascist violence to the recent reemergence in gaze to the avant-garde/independent responses to the Hollywood of the World War II film genre, we will examine current global/commercial Chinese cinema. This course is how narrative decisions and questions of film form play an an open superseminar (capped at 30 students), meeting ongoing role in shaping global cultural memory of the most once a week for two and half hours in order to facilitate in- significant event of the 20th century—the struggle to depth discussions of paired material; for example, two defeat Hitler and fascism—and their implications for our movies or a movie and significant historical texts (either current historical situation. primary or secondary). In addition to this weekly class time, there will be required screenings of film (one or two Mainland Chinese Cinema, Culture, per week). Students will be divided evenly between the two professors for conferences, using the regular model of and Identity From 1949 to the biweekly meetings. Present Michael Cramer, Kevin Landdeck Virtual Voyages: Travel Cinemas From Open, Joint seminar—Spring | 5 credits This seminar course will examine both the historical and Silent Film to Social Media cultural context of mainland Chinese cinema from 1949 to Tanya Goldman the present. The course will be focused on full-length Open, Seminar—Spring | 5 credits feature films from the People’s Republic of China, This course surveys the history of cinema as a mode of providing an eclectic mix of movies covering socialist travel from the 1890s to the present. The movie camera, propaganda of the high Maoist period (1949-76), the by its very nature, is a device that represents time and critical stances of the “Fifth Generation” (of graduates space. The exploration of the world through images (and from the Beijing Film Academy) in the 1980s and early later sound) has always been one of cinema’s primary 1990s, the more entertainment-focused films of post- features. While genres of early cinema, such as Deng (2000s) China, as well as contemporary art films travelogues and scenics, were eclipsed in popularity by that are largely seen outside of the commercial exhibition narrative features by 1910, travel cinema lives on in circuit. This wide variety of films will open up questions of documentaries, ethnographic films, home movies, wildlife cinematic representations of Chinese identity and culture television shows, IMAX productions, and, more recently, in at least four major modes: socialist revolutionary social media feeds. As COVID-19 abruptly restricted global (1949-76), critical reflections on China’s past and the travel, the lure of viewing distant places on a screen from revolution (1982-1989), what one might call neoliberal one’s home allows us to approach film anew as a surrogate entertainment (1990-present), and the more underground for physical travel and the experiential economy. This art cinema that has emerged as mainstream Chinese course takes a broad view of travel film, studying both cinema has become increasingly commercial. Along with media texts and historical context. The course will the close analysis of films (their narrative structure, examine an eclectic body of filmed content to analyze how audiovisual language, relationship to other films from both filmmakers, companies, and other groups have used China and beyond), the course will deal with Confucian moving images to represent desirable destinations and legacies in Chinese society, communist revolutionary impressions of spectacular and distant lands for artistic, spasms and the censorship system, and the more open commercial, and noncommercial purposes. We will also market and ideology of the post-Mao reform era. Assigned investigate the history of travel cinema by examining the readings will be varied, as well. Several key movies will be colonial ideologies and other power relations embedded paired with their textual antecedents (e.g., LU Xun’s New within a representational mode that reflects the worldview Year’s Sacrifice will be read alongside HU Sang’s by the of those privileged enough to travel and record their same title, while LI Zhun’s The Biography of LI experiences. All the while, we will also attend to the rise Shuangshuang will accompany the 1962 movie that and evolution of travel films amidst historical followed). Appropriate readings will cover important developments in media technology, transportation, the historical background in some detail; for example, the tourism industry, leisure, and more. Screenings will span Great Leap Forward (1959-62) and the Cultural the classic and the contemporary, from documentaries Revolution (1966-76) are both crucial events for understanding the revolutionary experience, while the 48 Filmmaking and Moving Image Arts Grass (1927) and Baraka (1992) to recent television Beginning Spanish: A Glimpse Into the Hispanic World shows Planet Earth and Anthony Bourdain: Parts Unknown, through its Language and Culture (p. 146), Ximena among many, many others. Venturini Spanish Intermediate Spanish I: Latin American and Spanish Visual Courses offered in related disciplines this year are listed Culture (p. 146), Ximena Venturini Spanish below. Full descriptions of the courses may be found under Advanced Intermediate Spanish: Political the appropriate disciplines. Creativity (p. 146), Heather Cleary Spanish First-Year Studies: Two Lenses on Writing (p. 174), Myra Home/Nation: 20th-Century Asian Art–via New Goldberg Writing York (p. 14), Gemma Sharpe Art History To Hold the Unsayable: A Poetry Workshop (p. 183), Marie Mainland Chinese Cinema, Culture, and Identity From 1949 Howe Writing to the Present (p. 19), Michael Cramer, Kevin Landdeck Asian Studies FILMMAKING AND MOVING Mainland Chinese Cinema, Culture, and Identity From 1949 to the Present (p. 47), Michael Cramer, Kevin IMAGE ARTS Landdeck Film History Sarah Lawrence College’s undergraduate filmmaking and First-Year Studies: Media Sketchbooks (p. 49), Robin moving image arts program (FMIA) offers a vibrant, Starbuck Filmmaking and Moving Image Arts dynamic, creative incubator to ignite the imagination of Worldbuilding (p. 49), Peter Burr Filmmaking and Moving the next generation of media makers. The program seeks Image Arts to help students navigate the intersection of art and Advanced Collective in Animation or Experimental technology, as they acquire the tools and skills of the Media (p. 50), Scott Duce, Robin Starbuck discipline and develop their critical and creative voices. Filmmaking and Moving Image Arts Cognizant that not every student will graduate to be Music and Sound for Film (p. 54), Giancarlo Vulcano a writer, director, producer, or game developer, the Filmmaking and Moving Image Arts program recognizes that—with the enduring power and Intermediate French I: France Through Film (p. 57), Liza influence of cinema, television, the web, and social Gabaston French media—students in all fields of study benefit from media Theories at Heart (p. 70), Antonia Carcelén-Estrada literacy and theory and a deep understanding of the ways History and means of media development and production. The Environmental Politics, Informality, and Democracy in FMIA program explores a broad scope of media making, Brazilian History (p. 72), Jesse Horst History including narrative fiction, documentary/nonfiction, Mainland Chinese Cinema, Culture, and Identity From 1949 experimental film, animation, cinematography, to the Present (p. 74), Michael Cramer, Kevin storyboarding, and directing actors, as well as editing, Landdeck History producing, screenwriting, writing for television, writing Nazis on Screen: The Third Reich in Film, From The Great and producing for the web, writing for games, and game Dictator to Inglorious Basterds (p. 76), Philipp development. Nielsen History Interdisciplinary work across the liberal arts is Beginning Italian: Viaggio in Italia (p. 80), Tristana encouraged, and both formal and informal collaboration Rorandelli Italian among the music, dance, theatre, writing, visual arts, and Intermediate Italian: Modern Italian Culture and other disciplines continues to emerge and flourish. Literature (p. 80), Tristana Rorandelli Italian Our program offers an intensive “semester-away” Theatre and the City (p. 86), Joseph Lauinger Literature program—Cinema Sarah Lawrence—where students work The Forms and Logic of Comedy (p. 86), Fredric Smoler on the development and production of a feature film shot Literature on location in Nantucket, Massachusetts. We also offer Toward a Theatre of Identity: Ibsen, Chekhov, and exchange programs in animation with CalArts and study Wilson (p. 89), Joseph Lauinger Literature abroad opportunities in film in Paris, in Cuba, and at the Literature in Translation: 20th-Century Italian Literature world-famous FAMU film school in Prague, among others. and Culture (p. 91), Tristana Rorandelli Literature Sarah Lawrence College offers state-of-the-art Conscience of the Nations: Classics of African facilities for the FMIA program, including the Donnelly Literature (p. 92), William Shullenberger Literature Film Theatre that seats 185 people and has a 4K digital Hitchcock in 2022 Vision: The Long Shadow of Gothic cinema projector, an intimate 35-person screening room, a Style (p. 94), James Horowitz Literature teaching/editing lab, a 1,400-square-foot soundstage, an The Music of Russia (p. 103), Martin Goldray Music animation studio, and a sound and Foley recording booth. Art and Visual Perception (p. 133), Elizabeth Johnston Our equipment room offers Sony, Canon, Blackmagic, RED, Psychology and ARRI cameras, along with sound, grip, and lighting The Sociology of Sports (p. 144), Shahnaz Rouse Sociology packages. THE CURRICULUM 49 Recent graduates routinely have their work (Octavia Butler), and comics (Moebius). Additionally, we represented at some of the world’s most prestigious film will discuss the role of “internal coherence,” style, and and media festivals, most recently at Cannes, Palm narrative structure as they pertain to dozens of artworks, Springs, and Slamdance. Graduates who choose to pursue including work by Ian Cheng, Jacolby Satterwhite, Mati advanced degrees are finding traction at the top film Diop, and Porpentine. schools in the United States and abroad. First-Year Studies: Media Animation Sketchbooks Fundamentals of 2D Character Robin Starbuck Open, FYS—Year | 10 credits Animation In this course, students will develop work that aims to Scott Duce challenge audience perceptions of traditional filmmaking Open, Seminar—Year | 10 credits while retaining “audience reading” of a film’s message, This course focuses on the fundamentals of animation intention, and meaning. This is a production and research through the development of 2D character design. The class, where the development of experimental fiction and course will introduce students to traditional hand-drawn nonfiction film is covered from the conception of an idea and digital techniques of frame-by-frame animation, to the finished product. Students will have the opportunity where movement is created through successive, to experiment with nonconventional techniques for image sequential character drawings. Students will learn the creation, either individually or in collaboration with their principles of animation through character design and peers. We will explore technical, conceptual, and aesthetic visual development and will gain knowledge in drawing by approaches to constructing art films with directed shots, engaging with formal spatial concepts in order to create cinéma vérité, animation, performance art, and free-media fully realized characters, both visually and conceptually. montage. Emphasis will be placed on producing innovative Through the development of character boards, model and creative films in the experimental genre. This is a solid sheets, beat boards, and character animation, students introductory course for students who are interested in film will draw and animate human, animal, mechanical, and and want to get their “feet wet” in film during their first hybrid figures. Students will learn about body mechanics year at the College. Students will participate in technical and motion flow in the development of animated production modules and exercises in which an exploration characters through techniques that include walk cycles, of modes of experimental film and video will be covered. rotating forms, transformations, holds, squash and Focus will be on an exploration of structure and format, as stretch, weight, and resistance. Additional instruction will well as film’s relationship to story, poetry, and include techniques in pencil-test animation and lip experimental text. We will review the work of professional syncing. Students will research characters in their visual, artists’ films and read theoretical texts as they apply to environmental, psychological, and social aspects to artist film production. The class will also function as an establish a full understanding of characterization. editing workshop with critique and feedback. Visiting Examples of animations illustrating frame-by-frame experimental filmmaker labs will be an important part of character movement will be screened regularly. The this year’s class. course will conclude with a final project, for which students will develop, conceptualize, and produce a fully animated character study. Information and skills Worldbuilding established in this class can be used to improve basic Peter Burr drawing and animation proficiency, to establish Open, Large Lecture—Fall | 5 credits fundamentals for digital animation production, to create A world is an artificial living thing, but a living thing and enhance an animation portfolio, and to develop nonetheless. —Ian Cheng (2018) The concept of tangible skills for producing graphic novels or a character “worldbuilding” has been around for hundreds of years in outline for an interactive media project. Software used in the development of science fiction and is often used to this course: Storyboard Pro, Harmony, Photoshop, describe art direction for commercial video game and film Procreate, and Final Cut Pro X. studios. Recently, this term has begun to be used by individual artists to describe a method for developing personal work presented online, in cinemas, and as 2D Animation: Environmental Stories museum installations. In this class, we will look at the Robin Starbuck history of this concept as it pertains to narrative art. While Open, Seminar—Year | 10 credits the focus of the course is on noncommercial moving- In this class, students develop animation and visual image work, we will also explore the history of communication skills by focusing on the process of worldbuilding in philosophy (Martin Heideggar), literature creating animated films based on visual explorations of 50 Filmmaking and Moving Image Arts environmental studies in the broadest sense. All of the Preproduction production steps required to produce a short animated film are demonstrated and applied through technical animation exercises in the fall term, with instruction Storyboarding for Film and including: idea development, visualization, character Animation development, continuity, timing, digital drawing, Scott Duce rotoscoping, and compositing. Spring semester will involve Open, Seminar—Fall | 5 credits the production of a single, short animated film (1-2 This course focuses on the art of storyboard construction minutes) by each student or team of students. as the preproduction stage and previsualization for Participants will develop and refine their personal style graphics, film/video, and animation. Students will be through exercises in animation production and introduced to storyboard strategies, exploring visual assignments directed at translating ideas into moving concepts such as shot types, continuity, pacing, images. Two-dimensional, digitally-drawn images (with transitions, and sequencing into visual communication. the option to include live action and photographs) will be Both classical and experimental techniques for creating assembled in sync to sound. Compositing exercises cover storyboards will be covered. Emphasis will be placed on a wide range of motion-graphic features, including: production of storyboard drawings, both by hand and keyframing, timeline effects, 2D space, layering, and digitally, to negotiate sequential image development and lighting. Films produced in the spring semester can establish shot-by-shot progression, staging, frame approach environmental concerns from a number of composition, editing, and continuity in film and other directions: philosophical, poetic, scientific, political, or media. Instruction will concentrate primarily on drawing story form. The direction that each film will take depends from thumbnail sketches through final presentation upon the student’s own interests, research, and storyboards and animatics. The final project for this class information that they bring to this class. No prior drawing will be the production by each student of a full experience is necessary, but participants should enter this presentation storyboard and a low-res animatic in a class with an interest in creating a film that engages combined visual, audio, and text presentation format. issues in society and the natural world in some manner. Knowledge of storyboards and animatics from this class This course provides students with a working knowledge can be used for idea development and presentation of your of the software Harmony by Toon Boon and AfterEffects by project to collaborators, for pitching projects, for Adobe. professional agencies, and, most importantly, for you, the maker. Software used in this course: Storyboard Pro and Advanced Collective in Animation or Final Cut Pro X. Experimental Media Scott Duce, Robin Starbuck Creative Producing: The Role of the Intermediate/Advanced, Small seminar—Fall | 5 credits Producer in Film and Television This collective for advanced animation and experimental Heather Winters media is for students seeking to work on independent- Open, Seminar—Fall | 5 credits | Hybrid Remote/In-Person study projects or to acquire credit for fieldwork in those This course explores the role of the creative producer and disciplines. The group will first meet weekly to establish the process of producing a feature or short film, guidelines and schedules for projects; then, the class will documentary, television, animation, or digital project from serve as a gathering place to report on project development through distribution. Taught through the lens development and/or the progress of an internship. Weekly of what one producer (or a small army of producers) meetings provide a framework for research, development, actually does, this course explores the role of the producer and collaborative assistance toward an advanced project from the moment of creative inspiration through that may take the shape of a short film or professional development, preproduction, production, postproduction, experience in an internship. Led by a team of filmmaking and project delivery—defining and demystifying what it and moving-image arts faculty, students will be means to “produce.” Working in small groups, students interviewed during registration to evaluate their proposed develop and pitch project ideas to the class and work in projects or research. The week-to-week structure of the groups throughout the semester to prepare fully- collective will be tailored to meet the needs of individual developed project presentations. Students will gain projects/groups as the semester progresses. The experience in breaking down scripts; crafting shooting collective is open to experienced animation and schedules and budgets; writing loglines, synopses, and experimental media students; both individuals and group treatments; casting breakdowns; and identifying each projects are invited to apply to the class. Interested project’s audience and platform. Course work consists of students should come to the interview prepared to present verbal and written assignments, film screenings, weekly a project proposal or an internship already secured. readings, and industry guest workshops. Participation in THE CURRICULUM 51 software labs is required. This course provides real-world script analysis, and verbal and written pitch exercises and producing guidance, offering filmmakers, screenwriters, spend the semester learning about and creating the and directors a window into the importance of, and elements that will make their particular projects and mechanics pertaining to, the producing discipline, as well stories resonate and become marketable. Through this as a practical skill set for creating and seeking process, students will learn how to develop a project into a opportunities in the filmmaking, television, and digital pitch package and how to pitch that project and engage content worlds. with the gatekeepers of the myriad platforms where audiences seek stories on screen. Course work is designed Concept Art: Visual Development to guide students in how to evaluate the strengths and weakness of their ideas, scripts, treatments, and projects Scott Duce and to explore what platform(s) will best suit their project Open, Seminar—Spring | 5 credits and why. Guest workshops with industry professionals This course will explore the preproduction aspects of include writer pitches and understanding talent animation concept development. Students will gain representation in the entertainment industry. The knowledge in character development, background semester’s work culminates in a final pitch environments, object and prop design, flora and fauna, presentation—an essential skill for all writers, filmmakers, scene building, color keys, aerial mapping, and techniques directors, and producers. Whether pitching a colleague to for digital painting. Through the development of scene collaborate on your project or pitching a studio or network paintings, model sheets, and animatics, students will draw to finance your project, students will learn how to ensure and conceptualize spaces, characters, and props that are that a script or project is ready to pitch, how to understand visually harmonious and consistent in form and function. studio and network needs, how to establish industry Students will research and produce narrative outlines that contacts, how to be a skilled communicator, how to include visual and environmental components to establish understand and grapple with changing audience tastes, a full understanding of an animated project. Both hand- and, overall, how to sell an idea. Students must have a drawn materials and digital drawing will be used during completed script or treatment for which they wish to the semester. Photoshop, Storyboard Pro, Procreate, and develop a pitch. Final Cut Pro software will be utilized for character design, background paintings, and concept presentation animatics. The final project for this course will include a Production fully developed, multicharacter/environment animatic. Knowledge from this course can be used to create and Virtual Cinema enhance an animation portfolio, establish a concept Phillip Birch outline for an interactive media project, and help in Open, Seminar—Year | 10 credits developing a cast of characters and environments for a This course will focus on the development and deployment graphic novel or an animated film. Software used of adaptive cinema and live-rendered compositing in video throughout the course: Photoshop, Storyboard Pro, production. The class will explore the production Harmony, Procreate, and Final Cut Pro X or Premier. techniques in shows such as Westworld and The Mandalorian, as well as the burgeoning field of adaptive The Art and Craft of Pitching for Film cinema used on online platforms such as Netflix and and Television experimental film festivals. Topics covered in the course will be live-compositing computer graphics, user interface Heather Winters design, scene optimization, and multisequential Open, Seminar—Spring | 5 credits | Hybrid Remote/In- narratives. The course will use Unreal Engine, an industry- Person standard software used on the above television shows. The first step to getting any project made is having the Utilizing these techniques, we will discuss different goods—a screenplay, an original TV pilot script, episodes venues for deployment of this media, including virtual of a digital series, a short film script, a documentary reality and online platforms. treatment or proposal—and then developing a rock-solid pitch. By asking important questions—What is your story? To what kind of viewer will it appeal? Is it practical? Has it Media Lab: Youth Education and been done before? What makes your project unique? Why Community Engagement am I the right person to tell this story?—this course Yeong Ran Kim introduces students to the fundamentals and Open, Seminar—Year | 10 credits practicalities of development and pitching. Through a This yearlong course is designed for students with a strong collaborative workshop process and by using their existing interest in community work and digital-media production. scripts and projects, students will engage in table reads, We’ll explore new forms of research creation and 52 Filmmaking and Moving Image Arts pedagogical, performative mode of engagement by their conference films, students will workshop their rough considering the role of digital media in making new cuts in the classroom and fine-tune their edits in connections, building friendships, and forging preparation for the final class: the screening! communities. We’ll begin the year by examining the relation of aesthetics to politics and exploring the myriad Working With Light and Shadow ways in which theory and praxis can inform one another—with special attention to digital-media pedagogy. Misael Sanchez Students will engage in a series of short exercises that will Open, Seminar—Fall and Spring | 5 credits equip them with the basic skills needed for digital-media This introductory-level course will present students with production. Students will then have the opportunity to put the basics of cinematography and film production. those skills into practice, as we design a new kind of after- Students will explore cinematography as an art of visual school program and host a digital-media workshop for storytelling. The cinematographer plays a critical role in youth in consultation with the College’s community shaping the light and composition of an image and in partners in Westchester (schedules and groups TBD). This capturing that image for the screen. Students will course asks students to play the role of teaching artists, investigate the theory and practice of this unique visual integrating their art form, perspectives, and skills into the language and its power as a narrative element in cinema. community setting. Students will team up to teach and In addition to covering camera operation, students will support youth participants to create short audio (fall) and explore composition, visual style, and the overall operation multimedia pieces (spring) through which they show and of lighting and grip equipment. They will work together on tell stories about themselves and their communities. All scenes that are directed and produced in class and geared workshops will take place on campus for four Saturdays in toward the training of set etiquette, production language, the first semester (in October and November) and and workflow. Work will include the re-creation of classic possibly more in the second semester. This format will film scenes, with an emphasis on visual style. Students allow us to cultivate emerging moments of coming will discuss their work and provide feedback that will be together that vitalize creative making, as well as to find incorporated into the next project. For conference, innovative ways to share what was learned from the students will be required to produce a second scene re- teaching experience. This interdisciplinary and practice- creation, incorporating elements discussed throughout based course invites students from all disciplines. No prior the term. Students will outline projects, draw floor plans, experience in teaching and/or media production is and edit and screen the final project for the class. This is required. an intensive, hands-on workshop that immerses the student in all aspects of film production. By the end of the course, students should feel confident to approach a film Script to Screen production project with enough experience to take on Rona Naomi Mark introductory positions with the potential for growth. Open, Seminar—Year | 10 credits This class will introduce students to all aspects of Visions of Social Justice filmmaking, from conceiving a script through exhibition of the final work. The first semester will focus on Damani Baker screenwriting, and students will write short scripts that Open, Seminar—Fall | 5 credits they will then produce and direct in the second semester. In this documentary course, students will collaborate with Simultaneously, students will learn to use the school’s local nonprofit organizations and/or individual activists to filmmaking equipment and editing software and utilize produce a three-to-five minute film. The projects are a those skills in a series of short, targeted video exercises. combination of advertising, research, and social justice, Those exercises will not only familiarize the students with providing valuable content for underresourced efforts the gear at their disposal but also will introduce the while centering the powerful work of people challenging students to concepts of visual storytelling (e.g., where to destructive paradigms. The class members will work in put the camera to tell the story). The second semester will teams to produce their films and, ultimately, deliver focus on preproduction and previsualization of the material to their partner organizations to be used online student’s conference film. Students will learn how to craft and beyond. When appropriate, limited local travel will be shot lists, floor plans, look books, and other tools to help involved, along with an opportunity to collaborate with them organize their film shoots. Students will also practice organizers, activists, and community partners. Students directing actors and finding a method for effective will be encouraged to create social-engagement strategies communication with their cast. They will also learn some in partnership with the organization or subjects that basic production management skills, such as breaking elevate their mission and work. Given these down scripts for production and scheduling. After shooting unprecedented times—as we are presented with new opportunities to shift our understanding of self, community, and the roles that we can play in pursuing a THE CURRICULUM 53 just future—this course is for those who are committed to work, students will be required to produce a short project using filmmaking as a tool for change. This semester-long in addition to the work completed during class times, collaboration is equal parts media creation and an incorporating elements discussed throughout the understanding of the power of artists in movements for semester. Students will develop, write, shoot, edit, and justice. screen a final project by the end of the term. This is an intensive, hands-on workshop that immerses the student The Director Prepares in all aspects of film production. By the end of the course, students should feel confident enough to approach a film Maggie Greenwald production project with the experience to take on Open, Seminar—Fall | 5 credits introductory and assistant positions with the potential for This course concentrates on acquiring skills that the growth. writer-director needs in order to prepare to actualize a short screenplay that the student will develop in the class. Screenplay development will be accompanied by filmed Filmmaking: Visualizing and Creating exercises that focus on the director’s preparatory process Moving Images for the Screen along with developing an understanding of cinematic Misael Sanchez storytelling that includes the fundamentals of script, Sophomore and Above, Seminar—Spring | 5 credits staging, camera, lenses, and editing. This course will focus on the role of the cinematographer and the production process as it relates to lighting and Ghouls, Cyborgs, and Elves: Making developing a visual style of a film/video project, the Genre Film concluding with the production of a short film. The course will cover camera movement, composition, framing, and Rona Naomi Mark artistic lighting and will provide students with technical Open, Seminar—Fall | 5 credits and aesthetic knowledge of lighting for the screen. This is a hands-on production course with a focus on Throughout the semester, we will work with production producing genre films. Working within a genre can greatly equipment and set up exercises geared toward achieving assist the fledgling filmmaker by suggesting content and different cinematic styles. This class is intended for those stylistic elements, thereby freeing the artist to focus on who have a basic understanding of the principles of self-expression. While exploration of all genres is camera operation and cinematography and would like to welcome, our class discussions and video exercises will put their knowledge into practice. Each student will work explore various ideas present in the so-called “lesser on creating a lighting plan for an original scene to be genres” of horror, sci-fi, and fantasy. Students will shoot produced in class. Conference work will be the production several short video exercises, both individually and in of a short film project by the end of the semester. groups, each with a certain directing and thematic prompt. Film viewings will demonstrate how genre films handle sexual politics and repression, societal and personal Visions of Social Justice II anxieties, naturalism as opposed to fantasy, as well as the Damani Baker smart use of special effects and other strategies for the Intermediate, Seminar—Spring | 5 credits low-budget, independent filmmaker. In addition to class In this intermediate documentary course, students will exercises, students will each produce and direct a short collaborate with local nonprofit organizations and/or video project for their conference work. individual activists to produce a three-to-five minute film. The projects are a combination of advertising, research, Cinematography: Color, Composition, and social justice, providing valuable content for underresourced efforts while centering on the powerful and Style work of people challenging destructive paradigms. The Misael Sanchez class will work in teams to produce their films and, Open, Seminar—Fall | 5 credits ultimately, deliver material to their partner organizations This course will explore the roles associated with film to be used online and beyond. When appropriate, there will production, focusing on cinematography and lighting for be limited local travel and an opportunity to collaborate the screen. In addition to covering camera operation and with organizers, activists, and community partners. basic lighting techniques, students will explore Students will be encouraged to create social engagement composition, color palettes, and application of a visual strategies in partnership with the organization or subjects style to enhance the story. The semester will revolve that elevate their mission and work. Given these around weekly exercises, followed by creating and unprecedented times—as we are presented with new producing original work. Work will be discussed and notes opportunities to shift our understanding of self, incorporated into the next project. As part of conference community, and the roles that we can play in pursuing a 54 Filmmaking and Moving Image Arts just future—this course is for those who are committed to and critique of student work. This is not a “conference” using filmmaking as a tool for change. This semester-long course and has no conference work or individual collaboration is equal parts media creation and conference meeting time outside of class. There will be understanding of the power of artists in movements for opportunities for individual attention during some class justice. sessions. The class will maintain an online Discord server. This course is open to students of all levels and requires no Advanced Collective for Filmmakers previous editing experience. All footage will be provided. If students are concurrently enrolled in another filmmaking and Screenwriters production course, it may be possible—with permission of Damani Baker, Rona Naomi Mark, Misael Sanchez both instructors—for students to edit their student film Intermediate/Advanced, Seminar—Spring | 5 credits instead of a stock film for the final assignment; but this is This independent-study collective will provide a not a guarantee and must be approved in advance. The framework for advanced screenwriting and filmmaking class will use Adobe Premiere. Adobe Creative Cloud students to pursue material toward an advanced project subscriptions will be provided to students, and the that could take the shape of a short film and/or software will be available for use in the Ziskin Digital screenplay. Led by a team of filmmaking and moving- Media Lab. The software is cross-platform and available image arts faculty, students will be interviewed during for both Mac and PC. registration to evaluate their proposed material and their role on the project. The week-to-week structure of the collective will be tailored to meet the needs of the Music and Sound for Film individual projects/groups as the semester progresses. Giancarlo Vulcano The collective will be open to screenwriting, documentary, Open, Seminar—Spring | 3 credits and fiction filmmaking students. Both individual and group This class will explore how music and sound serve the projects are invited to apply to the class. Interested dramatic intent of a film. As co-inhabitants of the aural students should come to the interview prepared to present spectrum, a film’s score and sound design are increasingly a project proposal. called upon to interact and work together. Working in one of those areas usually implies a working understanding of the other. The class will cover: working with a director on Postproduction spotting both music and sound, choosing musical themes that correspond to the dramatic needs of a film, using Editing for Film and TV sound design to highlight environmental and psychological Brian Emery facets of the world and its characters, conceptualizing the Open, Seminar—Fall | 3 credits sonic space of a film, and designing the music and sound In this seminar, we will examine the art and craft of so they occupy different frequency areas and remain motion-picture editing, from both an aesthetic and a distinct. The marriage of sound and music has deep roots practical viewpoint. We will explore how the combination in the history of cinema, and special attention will be paid and order of shots manages to convey both information to the masters of sound in film such as Walter Murch/ and emotion and how the art of editing works to enhance Francis Ford Coppola, Stanley Kubrick, Akira Kurosawa the story. We will ask if a cut works and, if it does, why it (note: list is subject to change). Technical topics to be works. Just as importantly, we will ask why a cut does not covered: intro to ProTools and an overview of basic mixing, work. We will explore the tools of digital editing and how concepts in music editing, use of effects such as they can be used to achieve the filmmaker’s desired compression, eq, reverb and filters, file organization, and artistic results. The primary work for this course will be management and workflow. While this course will be a weekly assignments that will range from editing a simple historical overview of important work and concepts, time narrative scene with limited “coverage” to more will also be given to developing student work with the hope complicated work editing scenes from feature films, that students gain experience through collaboration—both television, and short films. Students will read books such during class and independently. as Walter Murch’s In the Blink of an Eye, Bobbie O’Steen’s The Invisible Cut, and Christopher Bowen’s Grammar of the Edit. Technical instruction will focus on media management, import and organization, utilization of keywords and smart collections, basic editing, split editing, sound editing, color correction and color grading, export and delivery. The class will balance time between step-by-step technical demonstrations and discussion of postproduction topics and techniques, virtual screening, THE CURRICULUM 55 Screenwriting shows that are spec-ed in this class. In the spring, the class builds on fundamentals learned in the fall, with the focus on creating an original TV pilot. Students will hone Screenwriting: Tools of the Trade concepts, develop characters, and generate beat sheets K. Lorrel Manning and pages to create and write an original one-hour or half- Open, Seminar—Year | 10 credits | Hybrid Remote/In- hour show (no multicamera sitcoms). Focusing on Person engineering story machines, we power characters and The screenplay is the starting point for nearly every film, situations with enough conflict to generate episodes over television show, or web series. The majority of our favorite many years. In conference, students may wish to further films and television shows begin with a writer and an idea. deepen their concept and revise pages, craft another spec Aimed at the beginning screenwriter, this course will focus script, begin to develop characters and a series pitch deck on the fundamentals of visual storytelling—story, for their original show, or work on previously developed structure, style, character development, dialogue, material. Prospective students are expected to have an outlining, and formatting. During the fall semester, weekly extensive working knowledge across many genres of TV writing prompts will be given. Assignments will then be shows that have aired domestically during the past several read and discussed in class, using a structured feedback decades. paradigm. In addition, students will be given weekly viewing and reading assignments as a way to strengthen their script-analysis skills. During the spring semester, Writing the Short Screenplay students will pitch, outline, and then write one or two Maggie Greenwald original shorts or begin writing a feature-length Open, Seminar—Fall | 5 credits screenplay. Overall, the course is designed to help the The goal of this class is to develop, write, and workshop a beginning screenwriter build a screenwriter’s toolkit, as short screenplay—up to 15 pages. Students will pitch well as to assist the writer in finding his/her/their own stories in an open, roundtable process that will provide an artistic voice. opportunity for them to understand the potential and feasibility of their ideas. The class will explore the elements of screenwriting—including story structure, Writing for Television: From Spec character development through action (behavior) and Script to Original TV Pilot dialogue, visual storytelling, and point of view—in order to Marygrace O’Shea expand and deepen the writer’s narrative craft. We will Sophomore and Above, Seminar—Year | 10 credits schedule readings of at least three screenplays each week, The fundamental skill of successful television writers is followed by critique and discussion of the work. The the ability to craft entertaining and compelling stories for course will culminate in “table reads” of each screenplay, a characters, worlds, and situations that have been created process that allows the writer to hear his/her work read by others. Though dozens of writers may work on a show aloud by classmates/actors in each role, leading to a final over the course of its run, the “voice” of the show is unified production-ready draft. For conference, students may and singular. The best way to learn to write for choose between developing another idea for a short script television—and a mandatory component of your portfolio or a long-form screenplay. Those who need extra attention for agents, managers, showrunners, and producers—is to to make their in-class projects production-ready by the draft a sample episode of a preexisting show, known as a end of the semester may also receive that opportunity in “spec script.” Developing, pitching, writing, and rewriting conference. stories hundreds of times, extremely quickly, in collaboration, and on tight deadlines is what TV writers on Research as Practice: Developing the staff do ve ery day, fitting each episode seamlessly into the series as a whole in tone, concept, and execution. This Documentary workshop will introduce students to those fundamental Jules Rosskam skills by taking them, step-by-step, through the writing of Open, Seminar—Fall | 3 credits their own spec (sample) script for an ongoing dramatic In this course, students will learn about the preproduction television series. The fall classes will take students process for documentary filmmaking through exercises in through the spec-script process—from premise lines, idea generation, research, proposal writing, fundraising, through the outline/beat sheet, to writing a complete draft impact campaigns, team building, and distribution. The of a full teleplay for a currently airing show. No original broader goal is to develop each student’s unique voice pilots will be pursued in the fall. In conference, students while exploring issues of aesthetics, ethics and will work, in depth, through additional drafts of their script responsibility, experimentation, and the current pages. In this class, there will be very heavy TV viewing in sociocultural context of nonfiction film production. The the first third of the semester, as students “learn” the majority of the semester will be spent on assignments to 56 Filmmaking and Moving Image Arts help each student conceptualize and develop a screenplay. We will read, view, and discuss various documentary idea. Over the past decade, documentary screenplays, shorts, features, and television series that are has experienced a creative explosion alongside an based on preexisting material. Students will learn an expansion of its potential for commercial success. effective nuts-and-bolts process for screenplay Through readings, screenings, and class discussions, we adaptations. The first few weeks will be a review of basic will consider the limitless possibilities of nonfiction screenwriting fundamentals (e.g., story structure, filmmaking in regard to style, structure, tone, and subject dialogue, character development, formatting), along with matter. In addition to in-class screenings and reading weekly writing exercises and viewing/reading assignments, students will receive individual screening assignments. Students will then find material to adapt. and reading lists tailored to their projects. Students will pitch, outline, and write one short film adaptation (up to 15 pages) for class and one longer Writing Movies project (30 pages) for their conference project. Scripts will be read and discussed in class, using a structured Rona Naomi Mark feedback paradigm. Open, Seminar—Spring | 5 credits During the course of this seminar/workshop, students will Courses offered in related disciplines this year are listed learn how to write narrative screenplays with an eye below. Full descriptions of the courses may be found under toward completing a feature-length work. The course will the appropriate disciplines. cover basics of format and style, and there will be weekly assignments aimed at developing students’ screenwriting First-Year Studies in Dance (p. 31), John Jasperse Dance muscles. Students will “pitch” ideas, rigorously outline Yoga (p. 33), Patti Bradshaw Dance stories, and write and revise pages of their blueprint for a Guest Artist Lab (p. 34) Dance feature-length film. The class is designed to help the Live Time-Based Art (p. 34), Beth Gill, John Jasperse, Dean beginning screenwriter find his or her voice as a film artist, Moss Dance using the written language of visual storytelling. Lighting in Life and Art (p. 36), John Jasperse Dance Experimental Documentary (p. 46), Tanya Goldman Film Writing the Feature Screenplay History Virtual Voyages: Travel Cinemas From Silent Film to Social Maggie Greenwald Media (p. 47), Tanya Goldman Film History Intermediate/Advanced, Seminar—Spring | 5 credits First-Year Studies: The Senses: Art and Science (p. 125), From pitching ideas, developing detailed outlines, and Elizabeth Johnston Psychology creating mood boards in order to develop cinematic Art and Visual Perception (p. 133), Elizabeth Johnston storytelling skills, this course will take the student through Psychology the process of writing a feature-length screenplay. The 1,001 Drawings (p. 166), John O’Connor Visual and Studio screenplay may be based on an original idea or preexisting Arts source, including historical incident, biography, true crime, Digital Imaging Studio (p. 169), Shamus Clisset Visual and etc. In an intimate workshop setting, the writing will be Studio Arts shared and critiqued in a safe and constructive 3D Modeling (p. 169), Shamus Clisset Visual and Studio atmosphere as students develop their craft. By the end of Arts the semester, each student will have completed a first- New Genres: Cultural HiJack (p. 169), Angela Ferraiolo draft feature screenplay. Participation is essential to the Visual and Studio Arts process, and attendance is mandatory. Prerequisite: At Performance Art (p. 170), Clifford Owens Visual and Studio least one year of college-level screenwriting Arts Senior Interdisciplinary Studio (p. 171), John O’Connor, Writing the Short Film Adaptation Riad Miah Visual and Studio Arts K. Lorrel Manning Art and the Climate Crisis (p. 172), Gabriela Salazar Visual Intermediate/Advanced, Seminar—Spring | 5 credits and Studio Arts Adaptation skills are a major plus for any screenwriter. Photogrammetry (p. 173), Shamus Clisset Visual and Some of the world’s most popular films and television Studio Arts shows have been adapted from preexisting material. First-Year Studies: Two Lenses on Writing (p. 174), Myra Novels, short stories, comics, plays, articles, bios, Goldberg Writing historical events, poems, and even paintings have been Writing Our Moment (p. 179), Marek Fuchs Writing adapted for the screen. In this workshop/seminar, we will focus on screenplay adaptation for the short film. Students will learn how to break down a story/source material into its essential components for a compelling THE CURRICULUM 57 FRENCH on activities relating to students’ daily lives and to French and francophone culture. The course will rely heavily on The French program welcomes students of all levels, from the study of songs, cinema, newspaper articles, poems, beginners to students with several years of French. Our and short stories from various French-speaking locations, courses in Bronxville are closely associated with Sarah including France, Senegal, Algeria, Quebec, and the Lawrence’s excellent French program in Paris, and our Caribbean. During the spring semester, students will be priority is to give our students the opportunity to study in able to conduct a small-scale project in French on a topic Paris during their junior or senior year. This may include of their choice. There are no individual conference students who start at the beginning level in their first year meetings for this level. The class meets three times a at Sarah Lawrence, provided that they fully dedicate week, and a weekly conversation session with a French themselves to learning the language. language assistant(e) is required. Attendance at the Our program in Paris is of the highest level, with all weekly French lunch table and French film screenings are courses taught in French and with the possibility for both highly encouraged. Students who successfully students to take courses (with conference work) at French complete a beginning and an intermediate-level French universities and other Parisian institutions of higher course are eligible to study in Paris with Sarah Lawrence education. Our courses in Bronxville are, therefore, fairly College during their junior year. intensive in order to bring every student to the level required to attend our program in Paris. Intermediate French I: France Even for students who don’t intend to go abroad with Through Film Sarah Lawrence, the French program provides the Liza Gabaston opportunity to learn the language in close relation to Intermediate, Seminar—Year | 10 credits French culture and literature, starting at the beginning This course will offer a systematic review of French level. At all levels except for beginning, students conduct grammar and is designed to strengthen and deepen the individual conference projects in French on an array of student’s mastery of grammatical structures and topics—from medieval literature to Gainsbourg and the vocabulary. Students will also begin to use linguistic culture of the 1960s, from Flaubert’s Madame Bovary to concepts as tools for developing their analytic writing. avant-garde French female playwrights. On campus, the Through a variety of French films, we will combine the French program tries to foster a francophile atmosphere study of language with the investigation of aspects of with our newsletter La Feuille, our French Table, our French French history and culture while exploring current social, ciné-club, and other francophone events—all run by political, and economic issues. We will also draw on other students, along with two French assistants who come to media—including online videos and blogs, newspapers, the College every year from Paris. and literary texts—to enable students to build and In order to allow students to study French while increase their language proficiency, cultural awareness, pursuing other interests, students are also encouraged, and appreciation of 20th- and 21st-century France. The after their first year, to take advantage of our Language first semester will be dedicated to a survey of French Third and Language/Conference Third options that allow cinema, from the Lumière brothers through the Nouvelle them to combine the study of French with either another Vague. The second semester will address the complexities language or a lecture on the topic of their choice. of French identities through contemporary (post-World During their senior year, students may consider War II) movies. The Intermediate I and II French courses applying to the English assistantship program in France, are specially designed to help prepare students for which is run by the French Embassy in Washington DC. studying in Paris with Sarah Lawrence College during their Every year, Sarah Lawrence graduates are admitted to this junior year. Admission by placement test to be taken selective program and spend a year in France, working in during interview week at the beginning of the fall semester local schools for the French Department of Education. or by completion of Beginning/Advanced Beginning Bienvenue! French. Beginning French Jason Earle Intermediate French I (Section I): Open, Seminar—Year | 10 credits Contemporary French and This class is designed primarily for students who haven’t Francophone Culture had any exposure to French and will allow them to develop Eric Leveau an active command of the fundamentals of spoken and Open, Seminar—Fall | 5 credits written French over the course of the year. We will use This course will offer a systematic review of the most grammar lessons in order to learn how to speak, read, and fundamental aspects of French grammar. The emphasis of write in authentic French. In class, emphasis will be placed the class will be on developing oral proficiency by working 58 French on specific grammatical structures and conjugations, as works by Marie de Rabutin-Chantal (Madame de Sévigné), well as idiomatic expressions. We will also work on writing Jean de La Fontaine, Aloysius Bertrand, Gustave Flaubert, skills through in-class short essays and exercises with the Annie Ernaux, and Fatou Diome. At regular intervals, we primary goal of strengthening students’ grammatical will look at today’s press in France and discuss the way in agility. We will meet twice a week for two hours. We will which global issues are viewed through the particular lens use recent and contemporary French and francophone of a daily publication out of Paris. This part of the course popular culture (songs, film, cartoons, fashion, etc.) as a will afford us the opportunity to discuss climate change, gateway to explore underlying trends and tensions that food politics, “laïcité”.... In addition to conferences, a have been at work in the francophone world since the weekly conversation session with a French language 1960s. Some of the questions that we will discuss this assistant(e) is required. Attendance at the weekly French semester include colonization and its aftermath in France lunch table and French film screenings are both highly and Belgium, as well as in several sub-Saharan African encouraged. The Intermediate I and II French courses are countries; the complex issue of race and slavery as part of specially designed to help prepare students for studying in France’s past in the Caribbean; the presence of Islam in Paris with Sarah Lawrence College during their junior year. France as a result of immigration from Algeria, Morocco, Admission by placement test (to be taken during interview and Tunisia; the and gender; and the week at the beginning of the fall semester) or completion question of ecology and climate change. Each week will be of Beginning French. Course conducted in French. organized around a song, a film, and a text that echo each other around a common theme. We will memorize lyrics Intermediate French II: The Writing of and write and act dialogues, as well as short essays. This course will be an excellent preparation for the spring 2022 Everyday Life in 20th-Century French Intermediate I course, which will focus on reading and Literature writing more elaborate texts. In addition to conferences, a Jason Earle weekly conversation session with a French language Intermediate, Seminar—Year | 10 credits assistant(e) is required. Attendance at the weekly French This French course is designed for students who already lunch table and French film screenings are both highly have a strong understanding of the major aspects of encouraged. The Intermediate French I and II courses are French grammar and language but wish to develop their specially designed to help prepare students for studying in vocabulary and their grasp of more complex aspects of the Paris with Sarah Lawrence College during their junior year. language. Students are expected to be able to easily read Admission by placement test (to be taken during interview more complex texts and to express themselves more week at the beginning of the fall semester), or completion abstractly. A major part of the course will be devoted to of Beginning French. the study and discussion of literary texts in French. In a challenge to his readers,“Question your soupspoons,” Intermediate French I (Section II): Georges Perec summed up, in his unique manner, a particular strain of 20th-century French letters—one that Scène(s) de littérature seeks to turn literature’s attention away from the Ellen Di Giovanni extraordinary, the scandalous, and the strange toward an Open, Seminar—Spring | 5 credits examination of the ordinary makeup of everyday life. This This semester-long course will continue a systematic course will examine some of the aesthetic and theoretical review of French grammar designed to strengthen and challenges that the representation of the quotidian entails. deepen mastery of grammatical structures and Does the everyday hide infinite depths of discovery, or vocabulary. Students will continue to use linguistic does its value lie precisely in its superficiality? How do concepts as tools for developing their analytic writing. spaces influence our experience of everyday life? How can Writing and revising short-response papers will be a (and should) literature give voice to experiences and critical part of class work. Over the course of the semester, objects that normally appear undeserving of attention? we will study a series of scenes from French and How does one live one’s gender on an everyday basis? Can francophone literature from its origins to today. From the one ever escape from everyday life? We will review early 12th-century lais of Marie de France to contemporary fundamentals of French grammar and speaking and works by Aminata Sow-Fall or Aimé Césaire, we will develop tools for analysis through close readings of discuss what is specific to a scene in literature. What is it literary texts. Students will be encouraged to develop tools about literary scenes that differs from those created on a for the examination and representation of their own stage or in a photograph? And what happens when we everyday lives in order to take up Perec’s call to interrogate encounter them as part of a class rather than on our own? the habitual. Readings will include texts by Proust, Breton, We will look at contemporary stage work and digitized Aragon, Leiris, Perec, Queneau, Barthes, the Situationists, archives of photographs, as we develop points of Ernaux, and Calle. The Intermediate I and II French courses comparison with other art forms. Readings will include are specially designed to help prepare students for THE CURRICULUM 59 studying in Paris with Sarah Lawrence College during their selection of fables, tales, short stories, prose poems, junior year. Course conducted in French. Admission by journalistic essays, and one-act plays written in French. By placement test to be taken during interview week at the the end of the course, students will be able to discuss beginning of the fall semester or by completion of these texts using basic tools and concepts in French. Intermediate French I (possibly Advanced Beginning for Conferences will be individual, allowing students to pursue outstanding students). their interests in any area of French and francophone literatures and cultures. In addition to conferences, a Intermediate French III: Soil, Nature, weekly conversation session with a French language assistant(e) is required. Attendance at the weekly French and Culture in Contemporary France lunch table and French film screenings are both highly Eric Leveau encouraged. Students who successfully complete a Open, Seminar—Fall | 5 credits beginning- and an intermediate-level French course are This course will explore the question of nature in France in eligible to study in Paris with Sarah Lawrence College the context of both climate change and the rich cultural during their junior year. Course conducted in French. and literary history of the country. Some of the themes Admission by placement test to be taken during interview that will allow us to better understand how the French week at the beginning of the fall semester. relate to nature include the forêt de Brocéliande in medieval novels of the Arthurian stories cycle; discussions Courses offered in related disciplines this year are listed about the status of animals in 17th-century France; below. Full descriptions of the courses may be found under romantic depictions of nature in French novels, set both in the appropriate disciplines. France and America in the early 19th century; evocations of exotic islands, in contrast to Paris’s industrial Sursum Corda: Art and Architecture from Michelangelo to revolution, in Baudelaire’s poetry; and Louis Ferdinand the Dawn of the Enlightenment, 1550-1700 (p. 13), Céline’s account of life in French Congo in the 1920s. In Joseph C. Forte Art History parallel to this literary exploration, we will study how Romanesque and Gothic Art: Castle and Cathedral at the France is reacting to the threat of climate change, from Birth of Europe (p. 13), Jerrilynn Dodds Art History legendary vineyards that must face rising temperatures, to Paris: A History Through Art, Architecture, and City new legislation that stirs the country into new practices, Planning (p. 15), Jerrilynn Dodds Art History and to the work of NGOs that work to protect habitats in Theatre and the City (p. 86), Joseph Lauinger Literature various parts of France. We will look at a mix of theoretical Words and Music (p. 102), Carsten Schmidt Music works by Foucault, Deleuze, and Irigaray, among others, as Existentialism (p. 113), Roy Ben-Shai Philosophy well as focus concretely on specific regions, local Critical Race Theory: Philosophical Perspectives (p. 113), associations, and farms that are inventing a green future. Carmen De Schryver Philosophy In addition to conferences, a weekly conversation session Decolonizing Philosophy (p. 114), Carmen De Schryver with a French language assistant(e) is required. Philosophy Attendance at the weekly French lunch table and French film screenings are both highly encouraged. GENDER AND SEXUALITY STUDIES Advanced Beginning French The gender and sexuality studies curriculum comprises Fredrik Roennbaeck courses in various disciplines and focuses on new Open, Seminar—Fall | 5 credits | Remote scholarship on women, sex, and gender. Subjects include This course is designed for students who have studied women’s history; ; the psychology and some French in the past but wish to review the politics of sexuality; gender constructs in literature, visual fundamentals of French language and grammar before arts, and popular culture; and the ways in which gender, venturing into the study of complex literary texts in race, class, and sexual identities intersect for both women French. The course has two objectives. First, students will and men. This curriculum is designed to help all students pursue an intense, fast-paced, and thorough revision of think critically and globally about sex-gender systems and the fundamentals of French grammar, composition, and to encourage women, in particular, to think in new ways conversation. Students will be encouraged to write about themselves and their work. multiple short essays and participate in oral class Undergraduates may explore women’s studies in activities and will be exposed to various kinds of lectures, seminars, and conference courses. Advanced documents in French (songs, movies, paintings, etc.). students may also apply for early admission to the Second, we will work on techniques of literary study and College’s graduate program in women’s history and, if discussion in French. Our focus will be on short texts from admitted, may begin work toward the master of arts the French and francophone worlds. We will read a degree during their senior year. The MA program provides 60 Gender and Sexuality Studies rigorous training in historical research and interpretation. Reconstructing Womanhood II: Writers and Activists in the It is designed for students pursuing careers in academe, United States, 1930–1990 (p. 76), Lyde Cullen Sizer advocacy, policymaking, and related fields. History Gender, Education, and Opportunity in Africa (p. 77), Mary Courses offered in related disciplines this year are listed Dillard History below. Full descriptions of the courses may be found under Queer Americans: Henry James, Gertrude Stein, Willa the appropriate disciplines. Cather, and James Baldwin (p. 83), Julie Abraham Ethnographic Research and Writing (p. 7), Robert R. Lesbian, Gay, Bisexual, and Transgender Studies Desjarlais Anthropology Perverts in Groups: Queer Social Lives (p. 83), Julie Telling Lives: Life History in Anthropology (p. 7), Mary A. Abraham Lesbian, Gay, Bisexual, and Transgender Porter Anthropology Studies Children in Imperial Projects (p. 8), Mary A. Porter Pretty, Witty, and Gay (p. 84), Julie Abraham Lesbian, Gay, Anthropology Bisexual, and Transgender Studies Faking Families (p. 8), Mary A. Porter Anthropology First-Year Studies: Difficultomxn W of the Black England: From Tudors to Two-Tone (p. 9), Mary A. Americas (p. 85), Heather Cleary Literature Porter Anthropology Milton, Blake, and the Bible (p. 87), William Shullenberger Global Modernism, Internationalism, and the Cold War: Literature 1930s, 1960s, 1990s (p. 13), Gemma Sharpe Art Italian and Japanese Women Writers: A Dialogue (p. 88), History Sayuri I. Oyama, Tristana Rorandelli Literature Home/Nation: 20th-Century Asian Art–via New Queer(ing) India: Literature, Film, and Law (p. 90), York (p. 14), Gemma Sharpe Art History Shoumik Bhattacharya Literature Chinese Literature, Folktales, and Popular Culture (p. 16), Crime, Punishment, and Freedom in African American Ellen Neskar Asian Studies Literature (p. 91), Elias Rodriques Literature Queer(ing) India: Literature, Film, and Law (p. 17), Shoumik Literature in Translation: 20th-Century Italian Literature Bhattacharya Asian Studies and Culture (p. 91), Tristana Rorandelli Literature Global Queer Literature: Dystopias and Hope (p. 18), Conscience of the Nations: Classics of African Shoumik Bhattacharya Asian Studies Literature (p. 92), William Shullenberger Literature Hard Times Require Furious Dancing: Movement as Cold War Black Feminism (p. 93), Elias Rodriques Language in Performance, Politics, and Everyday Literature Life (p. 31), Peggy Gould Dance Global Queer Literature: Dystopias and Hope (p. 93), First-Year Studies: Working USA: American Workers in the Shoumik Bhattacharya Literature Globalized Political Economy (p. 37), Kim Christensen African American Poetry After Emancipation (p. 95), Elias Economics Rodriques Literature The Action Genre (p. 46), Tanya Goldman Film History An Introduction to Statistical Methods and Analysis (p. 97), Media Lab: Youth Education and Community Daniel King Mathematics Engagement (p. 51), Yeong Ran Kim Filmmaking and The Philosophy of Music (p. 102), Martin Goldray Music Moving Image Arts The Music of Russia (p. 103), Martin Goldray Music Visions of Social Justice (p. 52), Damani Baker Filmmaking Existentialism (p. 113), Roy Ben-Shai Philosophy and Moving Image Arts Women Philosophers in the 20th and 21st First-Year Studies: Literature, Culture, and Politics in US Centuries (p. 113), Roy Ben-Shai Philosophy History (p. 67), Lyde Cullen Sizer History Decolonizing Philosophy (p. 114), Carmen De Schryver Class, Race, Gender, Work: Readings in US Labor Philosophy History (p. 70), Priscilla Murolo History International Perspectives on Psychology (p. 126), Social Protest and Cultural Critique: A Cultural and Christopher Hoffman Psychology Intellectual History of the United States (p. 70), Lyde Urban Health (p. 130), Linwood J. Lewis Psychology Cullen Sizer History Doing Research With Young People (p. 132), Christopher Theories at Heart (p. 70), Antonia Carcelén-Estrada Hoffman Psychology History Emerging Adulthood (p. 133), Linwood J. Lewis Psychology Reconstructing Womanhood I: Writers and Activists in the Theories of Agency and Action in Science Studies (p. 143), United States, 1830–1930 (p. 73), Lyde Cullen Sizer Adrianna Munson Sociology History Sociology of Global Inequalities (p. 143), Parthiban Gendered Histories of Sickness and Health in Africa (p. 74), Muniandy Sociology Mary Dillard History Both Public and Private: The Social Construction of Family Life (p. 143), Shahnaz Rouse Sociology The Sociology of Sports (p. 144), Shahnaz Rouse Sociology THE CURRICULUM 61 Measuring Difference: Constructing Race, Gender, and their recent rapid rise? And if so, what will be the Ability (p. 144), Adrianna Munson Sociology consequences? What are the environmental impacts of Lineages of Utopia (p. 144), Shahnaz Rouse Sociology our food production systems? How do answers to these Advanced Intermediate Spanish: Political questions differ by place or by the person asking the Creativity (p. 146), Heather Cleary Spanish question? How have the questions changed over time? Performance Art (p. 170), Clifford Owens Visual and Studio This course will explore the following fundamental issue: Arts the relationship between development and the Black-and-White Darkroom: An Immersion (p. 171), Sophie environment, focusing in particular on agriculture and the Barbasch Visual and Studio Arts production and consumption of food. The questions above Diversity and Equity in Education: Issues of Gender, Race, often hinge on the contentious debate concerning and Class (p. 190), Nadeen M. Thomas Women's population, natural resources, and the environment. Thus, History we will begin by critically assessing the fundamental Experiments With Truth: Nonfiction Writing From the ideological positions and philosophical paradigms of Edges (p. 181), Vijay Seshadri Writing “modernization,” as well as the critical counterpoints that Edgy Memoirs (p. 180), Mary Morris Writing lie at the heart of this debate. Within this context of competing sets of philosophical assumptions concerning GEOGRAPHY the population-resource debate, we will investigate the concept of “poverty” and the making of the “Third World”; Geography is fundamentally an interdisciplinary field, access to food, hunger, grain production and food aid, often seen as straddling the natural and social sciences agricultural productivity (the Green and Gene and increasingly drawing upon the arts and other forms of revolutions), biofuels, the role of transnational expression and representation. For these reasons, Sarah corporations (TNCs), the international division of labor, Lawrence College provides an exciting context, as the migration, globalization and global commodity chains, and community is predisposed to welcome geography’s the different strategies adopted by nation states to breadth and interdisciplinary qualities. Geography courses “develop” natural resources and agricultural production. are infused with the central questions of the discipline. Through a historical investigation of environmental What is the relationship between human beings and change and the biogeography of plant domestication and “nature”? How does globalization change spatial patterns dispersal, we will look at the creation of indigenous, of historical, political, economic, social, and cultural subsistence, peasant, plantation, collective, and human activities? And how do these patterns provide commercial forms of agriculture. We will analyze the avenues for understanding our contemporary world and physical environment and ecology that help shape, but pathways for the future? rarely determine, the organization of resource use and As a discipline built on field study, students in agriculture. Rather, through the dialectical rise of various geography classes participate in field trips—most recently, political-economic systems—such as feudalism, slavery, for example, to farming communities in Pennsylvania but mercantilism, colonialism, capitalism, and socialism—we also to Manhattan’s Chinatown, where students engage will study how humans have transformed the world’s aspects of Chinese culture in walks through the environments. We will follow with studies of specific community that expose the heterogeneity of China issues: technological change in food production; through food, art, religion, and language while commercialization and industrialization of agriculture and simultaneously clarifying the challenges facing recent the decline of the family farm; food and public health, immigrants and legacies of institutions imbued with culture, and family; land grabbing and food security; the racism that are carved into the built environment. That is role of markets and transnational corporations in one of the overarching goals of contemporary geography: transforming the environment; and the global to investigate the ways that landscape and place both environmental changes stemming from modern reflect and reproduce the evolving relationship of humans agriculture, dams, deforestation, grassland destruction, to each other and to their environments. desertification, biodiversity loss, and the interrelationship with climate change. Case studies of particular regions Food, Agriculture, Environment, and and issues will be drawn from Africa, Latin America, Asia, Development Europe, and the United States. The final part of the course Joshua Muldavin examines the restructuring of the global economy and its Open, Lecture—Year | 10 credits relation to emergent international laws and institutions Where does the food that we eat come from? Why do regulating trade, the environment, agriculture, resource some people have enough food to eat and others do not? extraction treaties, the changing role of the state, and Are there too many people for the world to feed? Who competing conceptualizations of territoriality and control. controls the world’s food? Will global food prices continue We will end with discussions of emergent local, regional, and transnational coalitions for food self-reliance and food 62 Geography sovereignty, alternative and community supported We will deconstruct the measures of development through agriculture, community-based resource management a thematic exploration of population, resource use, systems, sustainable development, and grassroots poverty, access to food, the environment, agricultural movements for social and environmental justice. Films, productivity, urbanization, industrialization, and different multimedia materials, and distinguished guest lectures development strategies adopted by Third World nation- will be interspersed throughout the course. One farm/ states. We will then examine globalization and its relation factory field trip is possible in each semester if funding to emergent international institutions and their policies; permits. The lecture participants may also take a leading for example, the IMF, World Bank, AIIB, and WTO. We will role in a campus-wide event on “food and hunger,” then turn to contemporary development debates and tentatively planned for the spring. Please mark your controversies that increasingly find space in the headlines: calendars when the dates are announced, as attendance widespread land grabbing by sovereign wealth funds, for all of the above is required. Attendance and China, and hedge funds; the “global food crisis”; and the participation are also required at special guest lectures perils of climate change, as well as the potential of ”a new and film viewings in the Social Science Colloquium Series, green deal.” Throughout the course, our investigations of which are held approximately once per month. The Web international institutions, transnational corporations, the Board is an important part of the course. Regular postings role of the state, and civil society will provide the backdrop of short essays will be made there, as well as followup for the final focus of the class: the emergence of regional commentaries with your colleagues. There will be in-class coalitions for self-reliance, environmental and social essays, a midterm quiz, and a final exam each semester. justice, and sustainable development. Our analysis of Group conferences will focus on in-depth analysis of development in practice will draw upon case studies from certain course topics and will include debates and small- Africa, Asia, Latin America and the Caribbean, Europe, and group discussions. You will prepare a poster project each North America. Conference work will be closely integrated semester on a topic of your choice that is related to the with the themes of the course, with a two-stage, course and which will be presented at the end of each substantive research project. Project presentations will semester in group conference, as well as a potential public incorporate a range of formats, from traditional papers to session. multimedia visual productions. Where possible and feasible, you will be encouraged to do primary research Introduction to Development Studies: over fall study days. Some experience in the social The Political Ecology of Development sciences is desired but not required. Joshua Muldavin Sophomore and Above, Seminar—Fall | 5 credits The Rise of the New Right in the In this seminar, we will begin by examining competing United States paradigms and approaches to understanding Joshua Muldavin “development” and the “Third World.” We will set the Open, Seminar—Spring | 5 credits stage by answering the question: What did the world look Why this course and speaker series/community like 500 years ago? The purpose of this part of the course conversations now? The rise of the New Right is a critically is to acquaint us with and to analyze the historical origins important phenomenon of our time, shaping politics, and evolution of a world political-economy of which the policies, practices, and daily life for everyone. The “Third World” is an intrinsic component. We will thus insurrection at The Capitol on January 6, 2021, is only one study the transition from feudalism to capitalism, the rise egregious expression of long-term ideas and actions by a of merchant and finance capital, and the colonization of newly emboldened collective of right-wing ideologues. The the world by European powers. We will analyze case violent challenges to the realities of a racially and studies of colonial “development” to understand the ethnically diverse America is not a surprise. Nor is the evolving meaning of this term. These case studies will help normalization of White Power politics and ideas within us assess the varied legacies of colonialism apparent in mainstream politics and parties. The varied nature of the the emergence of new nations through the fitful and New Right’s participants—their ideologies, grievances, and uneven process of decolonization that followed. The next goals—requires deep analysis of their historical roots, as part of the course will look at the United Nations and the well as their contemporary manifestations. The wide range role some of its associated institutions have played in the of platforms and spaces for communicating hate, lies, and post-World War II global political-economy, one marked by calls for violence against perceived enemies require their persistent and intensifying socioeconomic inequalities, as own responses, including the creation of platforms and well as frequent outbreaks of political violence across the spaces that offer analysis and alternatives. Seriously globe. By examining the development institutions that engaging the New Right, attempting to offer explanations have emerged and evolved since 1945, we will attempt to for its rise, is key to challenging the authoritarian drift in unravel the paradoxes of development in different eras. our current political moment and its uncertain evolution THE CURRICULUM 63 and future. To do so requires our attention; it also requires Courses offered in related disciplines this year are listed a transdisciplinary approach, something inherent to our below. Full descriptions of the courses may be found under college and to geography as a discipline, be it political, the appropriate disciplines. economic, cultural, social, urban, historical, or environmental geography. The goal of this new seminar, Ethnographic Research and Writing (p. 7), Robert R. one that is accompanied by a facilitated speaker series Desjarlais Anthropology and community conversations, is to build on work in Children in Imperial Projects (p. 8), Mary A. Porter geography and beyond and to engage a wide array of Anthropology thinkers from diverse disciplines and backgrounds, Faking Families (p. 8), Mary A. Porter Anthropology institutions and organizations. In addition to teaching the Political Economy of Global Climate Change (p. 38), An Li course itself, my hope is that it can be a vehicle to engage Economics our broader communities—at the College and in our Environmental and Ecological Economics: Theories and region, as well as reaching out to our widely dispersed, Policies (p. 38), An Li Economics multigenerational alumni. Pairing the course with a Political Economy of Environmental Justice (p. 39), An Li facilitated/moderated speaker series, livestreamed in Economics collaboration with our Development and Alumni offices, Political Economy of Cities (p. 39), An Li Economics offers the chance to bring these classroom conversations First-Year Studies: Climate Change (p. 40), Bernice and contemporary and pressing course topics, grounded in Rosenzweig Environmental Science diverse readings and student engagement, to a much Green Infrastructure (p. 40), Bernice Rosenzweig wider audience and multiple communities. In this class, we Environmental Science will seek to understand the origins and rise of the New Geospatial Data (p. 41), Bernice Rosenzweig Environmental Right in the United States and elsewhere, as it has taken Science shape in the latter half of the 20th century to the present. The Environmental Imagination: Perspectives From the We will seek to identify the origins of the New Right and Social Sciences, Environmental Humanities, and the what defines it, to explore the varied geographies of the Arts (p. 42), Charles Zerner Environmental Studies movement and its numerous strands, and to identify the European Imperialism: Violence, Knowledge, and Migration constituents of the contemporary right coalition. In Since the 19th century (p. 68), Philipp Nielsen History addition, we will explore the actors and institutions that The Emergence of the Modern Middle East (p. 69), have played a role in the expansion of the New Right (e.g., Matthew Ellis History courts, state and local governments, Tea Party, Nationalism (p. 71), Matthew Ellis History conservative think tanks, lawyers, media platforms, Decolonization and the End of Empire (p. 75), Matthew Ellis evangelical Christians, militias) and the issues that History motivate the movement (e.g., anti-communism, Studies in Ecocriticism: The Idea of Nature in the Western immigration, environment, white supremacy/nationalism, Tradition (p. 87), Eric Leveau Literature voter suppression, neoliberal economic policies, anti- Urban Health (p. 130), Linwood J. Lewis Psychology globalization, free speech). This is a reading-intensive, Food Environments, Health, and Social Justice (p. 130), discussion-oriented large seminar in which we will survey Magdalena Ornstein-Sloan Psychology a broad sweep of the recent literature on the New Right. Environmental Psychology: An Exploration of Space and While the class focuses most specifically on the US Place (p. 133), Magdalena Ornstein-Sloan Psychology context, conference papers based on international/ First-Year Studies: Borders, Nations, and Mobilities: A comparative case studies are welcome. Students will be Sociological Introduction (p. 142), Parthiban required to attend all associated talk and film viewings, Muniandy Sociology write weekly reading memos, engage colleagues in Sociology of Global Inequalities (p. 143), Parthiban biweekly online essays and conversation, and write a brief Muniandy Sociology final paper that links the themes of the class with their Both Public and Private: The Social Construction of Family own interests, creative products, research agenda, and/or Life (p. 143), Shahnaz Rouse Sociology political engagement. Transdisciplinary collaborative Architecture Design Studio: Heavy–Light (p. 167), Miku activities across the College and community are Dixit Visual and Studio Arts encouraged. Film, performance, written commentary, Architecture Design Studio: Enclosure and workshops, and other forms of action can provide Environment (p. 167), Miku Dixit Visual and Studio additional outlets for student engagement. Arts Ecopoetry (p. 182), Marie Howe Writing 64 German GERMAN after the first week. We will hopefully cover 12 chapters from the textbook—all of the basic grammar and As the official language of the Federal Republic of vocabulary that students will need to know in order to Germany, Austria, Liechtenstein, and portions of several advance to the next level. There will be short written tests other European countries—and with linguistic enclaves in at the end of each chapter. Students will also be the Americas and Africa—German is today the native introduced to contemporary German culture through tongue of close to 120 million people. For advanced-degree authentic materials from newspapers, television, radio, or programs in fields such as art history, music history, the Internet. Nike Mizelle will teach this course in fall; philosophy, and European history, German is still a Roland Dollinger, in spring. required language. And whether the motivation for study is business, culture, travel, friendship, or heritage, a Intermediate German knowledge of German can add inestimable depth to a Roland Dollinger student’s landscape of thought and feeling. Intermediate, Seminar—Spring | 5 credits Students should ideally plan to study German for at This course places strong emphasis on expanding least two years. First- and second-year German courses vocabulary and thoroughly reviewing grammar, as well as aim to teach students how to communicate in German and on developing oral and written expression. The aim of the acquire grammatical competency through exercises that course is to give students more fluency and to prepare demand accuracy and also encourage free expression. them for a possible junior year in Germany. Readings will While conference work in Beginning German consists of consist of short stories from several different 20th- intensive grammar work with the German assistant (both century authors and of fairy tales by the Grimm brothers. group and individual conferences), intermediate-level All materials are linguistically accessible and promote an students work on their cultural competency by reading understanding of the culture’s fundamental values and German literature (fairy tales, novellas, poems) and way of looking at the world. A solid grammar review, based working on class, group, or individual research projects on the book German Grammar in Review, will help students (e.g., writing a short story or screenplay in German, improve their speaking and writing skills during both exploring German cities online, reading newspaper articles semesters. Regular individual conferences with Ms. on current events). Advanced German is a cultural-studies Mizelle will supplement class work, help improve fluency seminar. Students solidify their cultural competency by and pronunciation, and emphasize conversational studying German history and culture from the late 18th conventions for expressing opinions and leading century to the present. A special emphasis is placed on discussions. Prerequisite: Beginning German at Sarah 20th-century German history and culture, including Lawrence College or another institution of higher learning contemporary German literature and film. or at least four semesters of German in high school. Many students of German spend a semester or year studying in Germany. Students have the opportunity to take a five-week summer seminar in Berlin (six credits), Advanced German: The Literature of where they will take a German cultural-studies seminar Exile with an emphasis on the history and culture of Berlin and a Roland Dollinger class in art/architecture, dance, or the German language Advanced, Small Lecture—Spring | 5 credits (taught at Neue Schule in Berlin). Human history has always been characterized by the forced or voluntary migration of individuals or groups of Beginning German people. In this lecture, we will analyze the dialectical Roland Dollinger, Nike Mizelle relationship between the concepts of “home” and “exile” Open, Seminar—Year | 10 credits in a series of works, ranging from the Bible and medieval This course concentrates on the study of grammar, poems to German literary texts of the 20th century, a vocabulary, and pronunciation in order to secure the basic century whose upheavals led to different waves of tools of the German language. In addition to offering an voluntary or forced migration. Essays by Edward Said will introduction to German grammar and vocabulary, provide us with some critical vocabulary to speak and classroom activities and the production of short write about the interconnectedness of notions of home, compositions promote oral and written communication. flight, diaspora, migrants, and refugees, while the primary This class will meet three times (90 minutes each works will invite us to analyze these themes in various session) per week. Ms. Mizelle will also meet with fictional and autobiographical forms. Our historical range students individually or in small groups for an extra will help us uncover the voices of those who were conference. Course materials include the textbook, Neue displaced from their communities but also the modes Horizonte, along with a workbook and a graded German through which many authors transformed the punitive reader that will allow students to start reading in German experience of exile into more empowering perspectives THE CURRICULUM 65 and positions of distance. We will begin with selected have included close readings of Homer’s Iliad, stories from the Old Testament (Pentateuch) and Old Aristophanes’s Clouds, Pindar’s Odes, Plato’s Republic, English exile poems, while later readings will include works Cicero’s de Amicitia, the poetry of Catullus, and Virgil’s by Ovid, Dante, Goethe, and Herman Hesse. We will Aeneid, as well as studies of modern theories of myth, conclude with Anna Segher’s novel about the dilemma of Nietzsche’s Birth of Tragedy (in connection with the refugees being stuck in Marseille in 1942 and a story of tragedies of Aeschylus, Sophocles and Euripides), the four emigrants by the preeminent writer Sebald. Students social implications of Roman domestic architecture, and a will attend weekly group conferences that will be comparison of Euripides’s Hippolytus with Racine’s conducted in German. We will review some essential Phèdre. German grammar and read shorter texts that also address Greek and Latin will be especially beneficial for questions of home, exile, and emigration. Students have students interested in related disciplines, including the option of taking this course for three credits by taking religion, philosophy, art history, archaeology, history, this lecture in English). political science, English, comparative literature, and medieval studies, as well as education, law, medicine, and Courses offered in related disciplines this year are listed business. Greek and Latin may also prove valuable to all below. Full descriptions of the courses may be found under those who wish to enrich their imagination in the creative the appropriate disciplines. pursuits of writing, dance, music, visual arts, and acting. Being Totalitarian: Making Hitler’s Germany, Mussolini’s Beginning Greek Italy, and Stalin’s Soviet Union (p. 73), Philipp Nielsen Emily Anhalt History Open, Seminar—Year | 10 credits Nazis on Screen: The Third Reich in Film, From The Great This course provides an intensive introduction to Ancient Dictator to Inglorious Basterds (p. 76), Philipp Greek grammar, syntax, and vocabulary, with the aim of Nielsen History reading the language as soon as possible. By mid- Theatre and the City (p. 86), Joseph Lauinger Literature semester in the fall, students will be reading authentic The Literature of Exile (p. 87), Roland Dollinger, Gillian excerpts of Ancient Greek poetry and prose. Students will Adler Literature also read and discuss English translations of selected Words and Music (p. 102), Carsten Schmidt Music works of Plato, Aristophanes, Thucydides, and Ps.- Being and Time (p. 115), Roy Ben-Shai Philosophy Xenophon. During the spring semester, while continuing to refine their knowledge of Greek grammar and their reading GREEK (ANCIENT) skills, students will read extended selections of Plato’s Apology in the original Greek. The Sarah Lawrence College classics program emphasizes the study of the languages and literature of Ancient Greece and Rome. Greek and Latin constitute an essential Courses offered in related disciplines this year are listed component of any humanistic education, enabling below. Full descriptions of the courses may be found under students to examine the foundations of Western culture the appropriate disciplines. and explore timeless questions concerning the nature of Intermediate Latin (p. 82), Emily Anhalt Latin the world, the place of human beings in it, and the Can This Republic Be Saved? Cautionary Evidence From components of a life well lived. In studying the literature, Ancient Rome (p. 88), Emily Anhalt Literature history, philosophy, and society of the Ancient Greeks and Ancient Philosophy (Plato) (p. 115), Michael Davis Romans, students come to appreciate them for Philosophy themselves, examine the continuity between the ancient and modern worlds, and, perhaps, discover “a place to HEALTH, SCIENCE, AND stand”—an objective vantage point for assessing modern culture. SOCIETY In their first year of study, students acquire proficiency in vocabulary, grammar, and syntax, with the Health, science, and society is a cluster of undergraduate aim of reading accurately and with increasing insight. and graduate courses, programs, and events that address Selected passages of ancient works are read in the original the meaning of health and illness, advocacy for health and languages almost immediately. Intermediate and health care, and structures of medical and scientific advanced courses develop students’ critical and analytical knowledge. Courses and events are multidisciplinary, abilities while exploring ancient works in their literary, bringing together perspectives from the humanities, historical, and cultural context. Conference projects creative arts, social sciences, and natural sciences. provide opportunities for specialized work in areas of Undergraduate students who are interested in health, interest in classical antiquity. Recent conference projects 66 Health, Science, and Society science, and society are encouraged to take courses Clinical Perspectives: Challenges to Child and Adolescent across the curriculum and to design interdisciplinary Development (p. 186), Deanna Barenboim Child conference projects. Development Over the past 25 years, as health and disease have Artificial Intelligence and Society (p. 30), James Marshall been examined from social, economic, political, and Computer Science historical perspectives, there has been an increased Yoga (p. 33), Patti Bradshaw Dance awareness of the ways in which definitions of disease are Anatomy (p. 35), Peggy Gould Dance framed in relation to the values, social structures, and Anatomy Research Seminar (p. 35), Peggy Gould Dance bases of knowledge of particular communities. Psychopathology (p. 187), Alma Watkins Dance/Movement Globalization has required us to understand health and Therapy disease as crucial international issues, and environmental Human Growth and Development (p. 187), Elise Risher health is increasingly seen to be a matter of policy that has Dance/Movement Therapy significantly differential effects on different populations. Environmental and Ecological Economics: Theories and Public talks and events are regularly scheduled to bring Policies (p. 38), An Li Economics together undergraduate and graduate faculty and students Political Economy of Global Climate Change (p. 38), An Li to consider these questions of health, medicine, and Economics scientific knowledge from a broad variety of perspectives. Political Economy of Environmental Justice (p. 39), An Li This focus of study may be of interest to students Economics interested in the health professions, including pre-med, First-Year Studies: Climate Change (p. 40), Bernice nursing, or allied professions such as physical therapy, Rosenzweig Environmental Science allowing them to combine courses in the natural sciences Geospatial Data (p. 41), Bernice Rosenzweig Environmental with explorations of the social sciences, arts, and Science humanities. Similarly, students in the arts and humanities The Environmental Imagination: Perspectives From the who are interested in health and illness may find that Social Sciences, Environmental Humanities, and the incorporating science and social science into their Arts (p. 42), Charles Zerner Environmental Studies educational program enables them to achieve a greater Visions of Social Justice (p. 52), Damani Baker Filmmaking depth of understanding and expression in their work. and Moving Image Arts The health, science, and society program offers Food, Agriculture, Environment, and Development (p. 61), undergraduate students the unique opportunity to take Joshua Muldavin Geography advantage of Sarah Lawrence College’s nationally Introduction to Development Studies: The Political Ecology recognized graduate master’s programs in Human of Development (p. 62), Joshua Muldavin Geography Genetics and Health Advocacy, both of which are the first The Rise of the New Right in the United States (p. 62), such graduate programs offered in the country. Events and Joshua Muldavin Geography programs are also coordinated with the graduate programs Gendered Histories of Sickness and Health in Africa (p. 74), in Art of Teaching and Child Development and in Mary Dillard History collaboration with the Child Development Institute. An Introduction to Statistical Methods and Analysis (p. 97), Daniel King Mathematics Courses offered in related disciplines this year are listed Multivariable Mathematics: Linear Algebra, Vector below. Full descriptions of the courses may be found under Calculus, and Differential Equations (p. 98), Daniel the appropriate disciplines. King Mathematics Ethnographic Research and Writing (p. 7), Robert R. It’s About Time (p. 116), Merideth Frey Physics Desjarlais Anthropology Classical Mechanics (Calculus-Based General General Biology Series: Genes, Cells, and Evolution (p. 20), Physics) (p. 117), Merideth Frey Physics Cecilia Phillips Toro Biology Electromagnetism & Light (Calculus-Based General Evolutionary Biology (p. 21), Michelle Hersh Biology Physics) (p. 117), Merideth Frey Physics Drugs and the Brain (p. 21), Cecilia Phillips Toro Biology 20th-Century Physics (p. 117), Merideth Frey Physics Genetics (p. 21), Drew E. Cressman Biology First-Year Studies: The Senses: Art and Science (p. 125), Neurological Disorders (p. 22), Cecilia Phillips Toro Biology Elizabeth Johnston Psychology General Biology Series: Anatomy and Physiology (p. 22), First-Year Studies: Emotions and Decisions (p. 126), Maia Beth Ann Ditkoff Biology Pujara Psychology Microbiology (p. 23), Michelle Hersh Biology International Perspectives on Psychology (p. 126), Nutrition (p. 25), Mali Yin Chemistry Christopher Hoffman Psychology Organic Chemistry I (p. 25), Mali Yin Chemistry Sleep Health and Well-Being (p. 127), Meghan Jablonski Organic Chemistry II (p. 26), Sean Boson Chemistry Psychology The Psychology and Neuroscience of Addictions (p. 127), David Sivesind Psychology THE CURRICULUM 67 Play and Imagination (p. 128), Anna Beresin Psychology swollen foreign reserves, dazzling modern cities, and a Virtually Yours: Relating and Reality in the Digital large and technologically advanced military, China is Age (p. 129), Meghan Jablonski Psychology regularly predicted to be the next global superpower. Yet, Urban Health (p. 130), Linwood J. Lewis Psychology the path between these two startlingly different points Food Environments, Health, and Social Justice (p. 130), was anything but smooth. China’s 20th century was a Magdalena Ornstein-Sloan Psychology tortuous one. Policymakers, elites, and the common Finding Happiness and Keeping It: Insights From people oscillated between the poles of reform and Psychology and Neuroscience (p. 130), Maia Pujara revolution—bouts of wild radicalism alternated with more Psychology sober policies—as they pursued changes that they hoped Mental Health and the Global Pandemic (p. 130), David would bring a better society and polity. This class Sivesind Psychology examines some of the major events and personalities of Doing Research With Young People (p. 132), Christopher this arduous century and its momentous political, social, Hoffman Psychology and cultural changes. We will learn and apply skills of Environmental Psychology: An Exploration of Space and historical analysis to primary documents (in translation), Place (p. 133), Magdalena Ornstein-Sloan Psychology some fiction, and film. Along the way, we will encounter a Emerging Adulthood (p. 133), Linwood J. Lewis Psychology rich cast of characters, including Sun Yatsen, China’s The Mind-Body Connection: Psychophysiology Research “national father”; colorful warlords; corrupt bureaucrats; Seminar (p. 134), Maia Pujara Psychology fervent intellectuals; protesting youths; heroic communist Theories of Agency and Action in Science Studies (p. 143), martyrs; the towering and enigmatic chairman Mao; long- Adrianna Munson Sociology suffering peasants; and fanatical Red Guards. These men The Sociology of Sports (p. 144), Shahnaz Rouse Sociology and women made and remade modern China. This class is Measuring Difference: Constructing Race, Gender, and history and, thus, is not primarily concerned with Ability (p. 144), Adrianna Munson Sociology contemporary China; but by the end of the year, students Stories and... (p. 178), Myra Goldberg Writing will be well-equipped with an understanding of China’s Ecopoetry (p. 182), Marie Howe Writing recent past, knowledge that will help immeasurably in making sense of today’s China as it becomes increasingly HISTORY important in our globalized economy and society. In addition to regular seminar (discussion) sessions, this The history curriculum covers the globe. Most courses FYS includes an individual research (conference) project focus on particular regions or nations, but offerings also each semester; these will be guided through biweekly, include courses that transcend geographical boundaries to research-specific, group meetings and individual examine subjects such as African diasporas, Islamic conferences in the fall and biweekly one-on-one meetings radicalism, or European influences on US intellectual in the spring. history. Some courses are surveys—of colonial Latin America, for example, or Europe since World War II. Others zero in on more specific topics, such as medieval First-Year Studies: Literature, Christianity, the Cuban Revolution, urban poverty and Culture, and Politics in US History public policy in the United States, or feminist movements Lyde Cullen Sizer and theories. While history seminars center on reading Open, FYS—Year | 10 credits and discussion, many also train students in aspects of the This is an interdisciplinary course in which we use historian’s craft, including archival research, literature and other cultural texts to illuminate a history of historiographic analysis, and oral history. ideas, culture, and politics in the United States. The course is premised on a series of assumptions: First, the public First-Year Studies: Reform and words and stories that Americans choose to tell reflect Revolution: China’s 20th Century ideas, concerns, presumptions, and intentions about their time period; they do, both intentionally and Kevin Landdeck unintentionally, “political work” in revealing the world in Open, FYS—Year | 10 credits the way that they shore up, modify, or work to change In 1900, China was a faltering empire ruled by an power structures. Second, this course assumes that you, autocratic, foreign, dynastic house and an entrenched the reader, have some sense of context for these stories bureaucracy of Confucian officials. sIt sovereignty heavily (or that you will work to acquire one) and, hence, have battered and its territory compromised by foreign powers, some sense of how the stories reflect the material world China was commonly called “The Sick Man of Asia.” In that they seek to change; novels, stories, memoirs, and 2000, China was a modern nation state ruled by an critical essays all derive from a single vantage point and, authoritarian party and an entrenched bureaucracy of therefore, need to be understood as one voice in a larger technocrats and administrators. With a surging economy, conversation coming from a particular time and a 68 History particular place. Third, these readings are largely primary Rethinking Malcolm X, Black sources that are always paired with a secondary-source Panthers, and Young Lords: A Radical chapter, article, or introduction; this pairing presumes a desire on your part to grapple with the material of this Historiography moment yourselves, to write history as well as read it. Komozi Woodard Themes of particular significance will include the Open, Large Lecture—Year | 10 credits construction of national identity, class consciousness, the This yearlong history lecture examines four dimensions of experience and meaning of immigration, slavery and the 1960s Black Revolt: Malcolm X, the Black Panthers, particularly race, and the political significance of gender the Young Lords, and the Black Arts Movement. The new and sexuality. Conference projects in the fall will focus on scholarship on Malcolm X and Black Power re-examines history and literature to 1900; in the spring, on history and important primary sources, including Malcolm X’s siblings. literature up to just yesterday. During the fall semester, The trajectory of the Black Panther Party (BPP) has its students will meet with the instructor weekly for roots in the Student Nonviolent Coordinating Committee individual conferences. In the spring, we will meet weekly (SNCC) in Lowndes County and Greene County, Alabama. or every other week, depending on student needs and the In turn, Malcolm X, SNCC, and BPP leaders inspired the progress of their conference projects. Puerto Rican Young Lords. Finally, the Black Arts Movement links those groups to the Black Cultural Becoming Modern: Europe From 1760 Revolution. to 1914 Politics and Culture of the Late Philip Swoboda Open, Lecture—Year | 10 credits American Empire, 1972–2016 What are the distinctive features of our “modern” Jim Cullen civilization? A partial list would include representative Open, Small Lecture—Fall | 5 credits democracy, political parties, nationalism, religious This course will look at US society in the half-century pluralism and secularization, mass production, rapid since Watergate and the end of the Vietnam War into the technological change, consumerism, free markets, a global 21st century. It will survey economic trends, political economy, and unceasing artistic experimentation. All of developments, and demographic changes—with particular these characteristically modern things became attention to class, gender, race, region, and religion. Group established in the 19th century, and most of them were conference discussions will focus on film, TV, and popular pioneered by Europeans. Yet, in Europe, with its ancient music of the period. Students will be asked to write a institutions and deeply-rooted traditions, this new form of series of short essays and produce a longer group project. civilization encountered greater resistance than it did in The larger goal of the class is to sharpen analytic skills and that other center of innovation, the United States. The provide historical context that can inform broader student resulting tensions between old and new in Europe set the experience, academic and otherwise. stage for the devastating world wars and revolutions of the 20th century. In this course, we will examine various European Imperialism: Violence, aspects of the epochal transformation in ways of making, Knowledge, and Migration Since the thinking, and living that occurred in Europe during what historians sometimes call the “long 19th century”: the 19th century period extending from the French Revolution to the Philipp Nielsen outbreak of World War I. We will also survey the political Open, Lecture—Fall | 5 credits history of that era and consider how the development of The history of imperialism, like all history, was a history of modern civilization in Europe was shaped by the power relations. Direct and indirect acts of violence resistance it encountered from the defenders of older sustained that power, but so did networks of knowledge ways. The course readings will focus primarily on the most and the voluntary and involuntary migration of peoples. innovative regions of 19th-century Europe: Britain, France, The history of European expansion continues to shape the Germany, and Italy; but we will also give some attention to world we live in today, not only in the former colonies but the Habsburg Empire and Russia, which gave birth to some also in the former metropoles. The structure of of the most influential ideas and artistic trends of the 20th international relations and the presence of colonial objects century during the three decades that preceded World in European museums attest to the legacy of domination. War I. Group conference readings will include novels, But dishes like Dabba gosht (a staple of Bohri cuisine but plays, political programs, philosophical and scientific allegedly influenced by the shepherd’s pie of British writing, and studies of 19th-century art. colonial troops) and chicken tikka masala (invented in Britain by a Bangladeshi chef) are reminders and remainders of the hybridity that could emerge as a result THE CURRICULUM 69 of imperial networks, as well. The course will begin with a wrongs and the rights? Should the human story be left to brief introduction to early modern colonial empires but will so-called realists, who claim that power wins out over then focus on the period of so-called High Imperialism ideals every time? Or is there a logic of mutual respect from the second half of the 19th century and end with that offers better solutions? This lecture examines the decolonization and a survey of some aspects of history of international human rights and focuses on the imperialism’s legacy today. The course will introduce claims that individuals and groups make against states in students to the ways in which trade networks enmeshed which they live. metropole and colonies; how people moved and were moved between them; how scientific knowledge was The Emergence of the Modern Middle gained, produced, and used in the context of imperialism; and how it created, supported, but eventually also ended East direct imperial rule. The lecture investigates the projection Matthew Ellis of power through formal and informal means, be it military Open, Seminar—Year | 10 credits control or urban planning, and looks at the way This course provides a broad introduction to the political, imperialism affected politics and society in the global social, cultural, and intellectual history of the Middle East north and global south. The course meets for one weekly from the late 18th century to the present. After a brief lecture and a weekly group conference that will give us the conceptual overview, the course draws upon a wide array chance to discuss the themes of the lecture in more detail. of primary and secondary sources to illuminate the Postcolonial studies have decentered the history of manifold transformations and processes that have European imperialism in productive ways and challenged contributed over time to shaping what has meant to be the one-directional relationship from metropole to colony. “modern” in this remarkably diverse and dynamic region. This decentering will be reflected in the voices we will hear Particular attention will be paid to the following themes: and read in our weekly group conferences, with the question of modernization and reform within the scholarship and primary sources hailing from various Ottoman and Qajar empires; the experience of different directions and perspectives. forms of European imperialism in the Middle East; the integration of the Middle East into the world economy; World War I and the collapse of the Ottoman Empire; International Law state-building in both colonial and postcolonial contexts; Mark R. Shulman transformations in religious thought; changing family Open, Lecture—Fall | 5 credits | Hybrid Remote/In-Person norms and gender roles and the genesis of Middle Eastern In a global landscape pocked by genocide, wars of choice, women’s movements; nationalism; class politics, social piracy, and international terrorism, what good is movements, and revolution; Zionism and the Israel- international law? Can it mean anything without a global Palestine conflict; post-World War II geopolitics and the police force and a universal judiciary? Is “might makes Cold War in the Middle East; Nasserism and pan-Arabism; right” the only law that works? Or is it true that “most the role of US power in the Middle East; the origins and states comply with most of their obligations most of the spread of political Islam; the political economy of oil; time”? These essential questions frame the contemporary globalization and neoliberalism; and the impact of various practice of law across borders. This lecture provides an new cultural forms and media on the formation of overview of international law—its doctrine, theory, and identities across the region. practice. The course addresses a wide range of issues, including the bases and norms of international law, the law of war, human-rights claims, domestic implementation of Winds of Doctrine: Europe in the Age international norms, treaty interpretation, and state of the Reformation formation/succession. Philip Swoboda Open, Seminar—Year | 10 credits Human Rights In the 16th century, Europe entered upon a religious crisis that was to permanently alter the character of Western Mark R. Shulman Christianity. Between 1520 and 1580, the religious unity of Open, Lecture—Spring | 5 credits | Hybrid Remote/In- Catholic Christendom was destroyed, as believers Person throughout Central and Northern Europe severed their ties History is replete with rabid pogroms, merciless religious with the papacy to form new “Protestant” communities. wars, tragic show trials, and even genocide. For as long as But the impact of the religious crisis was by no means people have congregated, they have defined themselves, in confined to the emergence of the churches of the part, as against an other—and have persecuted that other. Reformation. Luther’s revolt against the Roman church But history has also yielded systems of constraints. So ushered in an era of soaring religious creativity and savage how can we hope to achieve a meaningful understanding religious conflict that lasted for nearly two centuries and of the human experience without examining both the 70 History revolutionized thought, art, music—and politics. The the way, we will focus especially on the complex modern state is ultimately a product of the Reformation relationship between mechanisms of oppression and crisis, as is the system of international law that still collective forms of resistance: from slave rebellions to governs the relations among sovereign states. Students in insurgent political parties, from bread-and-butter this course will examine multiple aspects of the religious, unionism to revolutionary workers’ movements, from intellectual, and political history of Europe during the 16th community-based organizing to prison uprisings, and from and 17th centuries. The readings will focus attention on fights against gendered violence to campaigns for sexual the diversity of religious thinking and religious experience freedom. Readings include fiction, journalism, historical in this era. Besides tracing the rise of the Lutheran, documents, and scholarship that invite us to reimagine Calvinist, and Anglican churches and the complex history both the past and possibilities for the future. Class of the “radical Reformation,” we will consider forms of discussion of research methods, analytic paradigms, and belief independent of any church and new varieties of conference projects figures prominently in the syllabus. A skepticism and doubt. We also will devote considerable seminar for juniors, seniors, and graduate students; attention to the reform movements that transformed sophomores with permission. Roman Catholicism during those two centuries and the upsurge of missionary energy and mystical spirituality Social Protest and Cultural Critique: that accompanied them. We will investigate the effects of the Reformation crisis on politics and the state and on the A Cultural and Intellectual History of social order that Europe inherited from the Middle Ages. the United States As part of this investigation, we will examine the most Lyde Cullen Sizer important political struggles waged in the name of religion Advanced, Small seminar—Year | 10 credits between 1524 and 1689: the Peasants’ Revolt and Thirty “I pray you, then,” W. E. B. Du Bois wrote in his 1903 The Years’ War in Germany, the Dutch revolt against Spain, the Souls of Black Folk, “receive my little book in all charity, French Wars of Religion, and the English Revolution. Texts studying my words with me, forgiving mistake and foible we will read include works by Luther, Calvin, Ignatius of for the sake of the faith and passion that is in me, and Loyola, Teresa of Ávila, Queen Marguerite of Navarre, seeking the grain of truth hidden there.” In this yearlong Rabelais, Montaigne, and Pascal. course, we will study the words of American activists, who used story, memoir, and cultural criticism to create social The Strange Career of the Jim Crow change. From Thomas Paine’s brash Common Sense and a (seemingly) conservative seduction novel intended to North: African American Urban protect young women, Susanna Rowson’s Charlotte History Since the Atlantic Slave Temple, in the late 18th century, through narratives of Trade enslavement meant to awaken somnolent Americans to Komozi Woodard the moral tragedy in their midst, to critiques of the ills of Sophomore and Above, Seminar—Year | 10 credits capitalism in the 19th century, to revealing the profound For decades, students sought the origins of Jim Crow in injustices meted on immigrants, as well as migrants, in the the South; however, Jim Crow was born in New York City. early 20th century, to James Baldwin and other critics of Thus, recent history has focused serious attention on the racial prejudice in the 1960s, to the feminists of the rise of the Jim Crow North, beginning with northern Women’s Liberation Movement, we will analyze the “faith” slavery and the Atlantic Slave Trade in important port and seek the “grain of truth” in these passionate cries for cities such as Boston, Philadelphia, and New York. Some social justice. Juniors may enroll with permission of the historians think that those northern roots amount to a instructor. serious gap in the knowledge of how racial oppression took shape in American democracy. Theories at Heart Antonia Carcelén-Estrada Class, Race, Gender, Work: Readings Open, Seminar—Fall | 5 credits in US Labor History This course takes political aesthetics, from the Zapatistas Priscilla Murolo to Amazonian autonomy projects, as a point of departure Intermediate/Advanced, Seminar—Year | 10 credits | to ground historical understandings of interculturality Remote from an indigenous perspective. The course seeks to This course explores American labor systems and labor develop students’ critical skills as they acquire tools to struggles from the colonial era to the present. Core topics talk about transcontinental political aesthetics. While include slavery and peonage, as well as wage work; the engaging this aesthetics of resistance, students will be enduring legacy of settler-colonial regimes; and exposed to a series of critical theories that convey the intersections of class, racial, and gender hierarchies. Along depths of cultural memory—which is necessarily tied to a THE CURRICULUM 71 local indigenous history remembered in the community by a hill” to the rest of the world? It is a century and half later, heart. Students will read historical and literary texts from and you are now a delegate to the Constitutional the 16th century onward, as well as secondary readings Convention. Will the proposed Constitution save the new from recognized scholars interested on indigenous nation from falling into anarchy, or is it an instrument of historiography. Thus, students can compare various tyranny that threatens to destroy the freedoms the indigenous perspectives—from the Amazon to the Andes revolutionaries fought so hard to defend? These are some and Chiapas and the people of Turtle of the dilemmas that the course will ask you to face as you Island—contextualized in each nation’s colonial long- engage in role-play simulations of events such as the durée. controversy over the religious dissenter Anne Hutchinson and the writing of the Constitution, based on the Reacting The American Revolution to the Past pedagogy developed by Mark Carnes at Barnard College. Students will be assigned roles Eileen Ka-May Cheng representing the different contestants in these conflicts Open, Seminar—Fall | 5 credits and asked to reenact the debates over them. To prepare It may be comforting to know that historians agree that an for their roles, students will read relevant primary and American Revolution did, indeed, occur. Less comforting secondary sources and write position papers expressing but more intriguing may be the realization that historians their character’s views. Students should be aware that the do not agree on when it commenced and when it ended, process of playing these historical roles and immersing much less on the full meaning of what exactly took place themselves in an earlier time can be emotionally intense beyond the mere facts of the Revolution. Certainly, the and even uncomfortable. To enter the world of the 17th and question was profound enough to move John Adams to 18th centuries—one where people of European descent ask, “What do we mean by the Revolution?” This course considered themselves more civilized than others, where will look at the many different answers that revolutionary women were viewed as subordinate to men, and where Americans gave to Adams’s question by examining the aristocrats saw themselves as superior to ordinary political, intellectual, social, and cultural dimensions of the people—students should be prepared to engage in and event. Was the Revolution simply a struggle for political express views that are alien and at times, indeed, aversive independence, or was it also a social conflict over who to them. Thus, the course aims to show how much “the would “rule at home”? Was the American Revolution a past is a foreign country,” as the writer L. P. Hartley once transformation in the “hearts and minds” of the people, as put it, and to cultivate a sense of historical empathy by Adams believed, or was the War for Independence integral trying to understand that foreignness on its own terms. to the meaning and character of the Revolution? Did the This large seminar capped at 25 students, with group Revolution end with the close of the war, or was the conferences. war—to use Benjamin Rush’s words—“but the first act of the great drama”? What was the relationship between the Constitution and the Revolution? Was the Constitution a Nationalism conservative reaction against the radicalism of the Matthew Ellis Revolution, or did the Constitution extend and solidify Open, Large seminar—Fall | 5 credits what the Revolution had achieved? While the emphasis of This course provides a broad historical and theoretical the course will be on what the Revolution meant for those inquiry into the phenomenon of nationalism—one of the who participated in it, we also look more broadly at the most enduring ideological constructs of modern society. long-term legacy and memory of the Revolution. Through Indeed, the organization of the globe into a world of this examination, the course ultimately seeks to address bordered territorial nation states—each encapsulating a the question: What was the basis for and nature of unique social identity—is such a taken-for-granted feature American national identity? of contemporary geopolitics that it is easy to forget that nations did not exist for most of human history and that Gaming the Past: Democracy and nationalism dates back only to around the 1700s. And yet, despite many predictions of its imminent demise at Dissent in the United States different moments in history—Albert Einstein quipped Eileen Ka-May Cheng famously that nationalism was an “infantile disease” that Open, Large seminar—Fall | 5 credits humanity would eventually outgrow—nationalism remains It is 1637, and a woman’s life is in your hands. Do you vote perhaps as powerful an ideological force as ever in the to condemn Anne Hutchinson to exile and likely death United States, as elsewhere. This course will examine a simply for expressing her own religious beliefs and range of foundational questions about the emergence of challenging the Puritan church? Or do you allow her to stay nations and nationalism in world history: What is a nation, in Massachusetts, risking the destruction of the fragile and how has national identity been cultivated, defined, young colony and the failure of its mission to be a “city on and debated in different contexts? Why did nationalism 72 History emerge when it did? Who does nationalism benefit, and Revolutions in Cuba: Local Origins, how do different social groups compete for control over Global Fault Lines national identity and ideology? How and why did nationalism become such a vital feature of anticolonial Jesse Horst political movements beginning in the late-19th century? Is Open, Seminar—Fall | 5 credits nationalism fundamentally a negative force—violent and Beginning in 1959, rebels in Cuba toppled a dictatorship, exclusionary—or is it necessary for forging cohesive social defied the United States, and shocked the world. Six bonds among diverse and far-flung populations? The decades later, the Cuban Revolution’s contested legacy is course will begin with the emergence of nations and enough to tilt the balance in US presidential elections—a nationalism in Western Europe but will then move on to symbol of tyranny for some and of hope for others. This explore its evolution and ensuing spread to all parts of the course looks beyond simplistic narratives of a singular globe, exploring a number of case studies along the way. “Cuban Revolution.” Rather, it considers longstanding The course will conclude with a brief survey of the state of tensions between radicalism and conservatism in Cuban nationalist politics today, with a particular emphasis on history, tracing their interplay with global movements Brexit and white nationalism in the United States. such as antislavery, decolonization, and Marxism. Beginning with the antislavery movement in the broader Caribbean, course topics will include the contours of US Environmental Politics, Informality, imperialism, the rise of mambo and the Mafia, the politics and Democracy in Brazilian History of Cuban/West African religious practice, the limits of Jesse Horst guerrilla warfare, radical economic reforms in practice, Open, Seminar—Fall | 5 credits postrevolutionary contradictions in , When wildfires spread across the Brazilian Amazon in the LGBTQ rights and prostitution reform, and Cuba’s military summer of 2019, international concern spread rapidly. role in Africa. We will conclude with the recent rise of Containing more than one-third of the world’s primary rain Cuban hip hop as a new social movement. Throughout the forest, Brazil has featured prominently in hopes for a course, we will assess when the Cuban Revolution carbon-neutral future. Yet, Brazil is also home to a began—and did it ever end? Did revolutionary leaders complicated past. Since the colonial era, inequality and empower movements for gender, racial, and labor authoritarianism have competed with democratic reforms rights—or limit them? Did they conform to international and populist social movements. From the occupation of currents of totalitarian rule—or foster new forms of urban favelas by poor families to the development democratic solidarity within the so-called “Third World”? practices of wealthy corporations, legal reforms have often Analyzing scholarship, testimonials, music, artistic given way to the politics of informality—gray areas beyond movements, poetry, novels, and film, we will use the tools the law. How have these politics enabled democracy, and of history to construct competing narratives of revolution how have they subverted it? And what have they meant for in Cuba and trace fault lines and possibilities of Global environmental conservation efforts? This course seeks to South solidarity. peel back the layers of informal politics in Brazilian history, with specific attention to the intersection of informal Asian Imperialisms, 1600–1953 practices, democracy, and environmental politics in the Kevin Landdeck present. We will begin by examining indigenous Open, Seminar—Fall | 5 credits environmental practices before 1492 and continue with East Asia, like much of the globe, has been powerfully the Iberian glorifications of the walled city as a site of shaped by the arrival and presence of imperialist power in order and the social implications of sugar production and the region. In fact, in both China and Japan, nationalism is slave society. We will continue by examining the rise of founded on resistance to the encroachments of Western populism in the 1930s; slum clearance in the 1940s and imperialism. Both nations cast themselves as victims to ’50s; contemporary indigenous social movements; and the the rapacious West. And yet, often unnoticed by patriots explosion of drug traffic,entrifica g tion, and deforestation and pundits, both China and Japan are deeply indebted to in a neoliberal age. Along the way, we will trace the their own domestic imperialisms, albeit in very different destruction of Brazil’s once vast Atlantic Forest near Rio ways. Relying on a wide range of course materials de Janeiro, the rise of the Green Party in Brazilian politics, (historical scholarship, paintings, lithographs, and future prospects for the Amazon. The course makes photographs, literature, and relevant primary sources), use of a variety of sources, including scholarship, films, this course is an intensive investigation of the contours of and novels, with a critical analysis of urban popular music.. Asian imperialism, covering the colonialism of the (1644-1911), the aggressive Western expansion in the 19th century, and the Japanese Empire (1895-1945). We will ask: What features (if any) did these very different empires share, and what set them apart from each other? THE CURRICULUM 73 How and why were Asian empires built, how did they end, the course—in its comparative approach and focus on the and what legacies did they leave? We will excavate the construction and practice of totalitarianism—will offer multiethnic Qing imperium for how it complicates China’s students tools to approach these terms in all of their patriotic master narrative. Does Qing ethnic policy toward complexity. The course will provide new perspectives on native Miao tribes differ from Western racism and its both the past and the present. Together, we will read familiar civilizing discourse? And what are the legacies of political programs and speeches, diaries, letters, and Qing colonialism for China’s modern nation state? The memoirs. We will look at school books and propaganda Qing campaigns to subjugate the Mongols in the posters and watch movies. We will also engage with the northwest and the colonization of the untamed southwest long historiography on these three regimes. Scholarly both predated the arrival of the Westerners and the Opium debates on the nature of fascism and totalitarianism have War (1839-42). How does that impact our understanding their own history and politics, which have shaped our use of the clash between China and the rapidly expanding of the two terms as much as the history of the three states West? We will trace earlier views on the classic themselves. Being Totalitarian will thus be a simultaneous confrontation between these two presumed entities study of both history and historiography. before examining more recent revisionist formulations on the Western penetration of China. What were the Reconstructing Womanhood I: processes of Western intrusion, and how did Western imperialism come to structure knowledge of China? And, Writers and Activists in the United finally, we will turn to the Japanese Empire. What were its States, 1830–1930 motivations, its main phases, and its contradictions? Lyde Cullen Sizer Should we understand it as similar to Western imperialism Open, Seminar—Fall | 3 credits or as an alternative, something unique? What are the “But if you ask me what offices they may fill, I reply—any. I implications of both positions? To understand the do not care what case you put; let them be sea-captains, if Japanese Empire in both its experiential and theoretical you will,” Margaret Fuller wrote in Woman in the 19th dimensions, we will range widely across Japan’s Century in 1845. Not 10 years later, Fanny Fern’s possessions in Taiwan, Korea, and Manchuria. The autobiographical protagonist tells her daughter, when questions and topics in this seminar will complicate the asked if she would write books when a woman, “God master narratives that prevail in both East Asia and the forbid,” because “no happy woman ever writes.” In this West—not to delegitimize or subvert Asian sovereignties small seminar, we will discuss what US women writers but in order to understand the deeply embedded imagined they could be and why they wrote (happy or not). narratives of imperialism within those sovereign claims, to We will read both major and forgotten works of literary see how those narratives (and their blind spots) continue activism from women writers of the 19th and early 20th to frame and support policies and attitudes today. centuries, focusing on issues of gender and gender convention; race, racial prejudice, and enslavement; Being Totalitarian: Making Hitler’s immigration, migration, and national identity; class and Germany, Mussolini’s Italy, and elitism; and sex and sexuality. Stalin’s Soviet Union Liberations: Contemporary Latin Philipp Nielsen Open, Seminar—Fall | 5 credits America The Italian dictator Benito Mussolini, in power from 1922 Margarita Fajardo until 1945, famously declared that he wanted to create Sophomore and Above, Seminar—Fall | 5 credits | Hybrid “the fascist man.” Adolf Hitler in Germany and Josef Stalin Remote/In-Person in the Soviet Union had similar aspirations to reshape not After the military regimes that swept Latin America came only the political structure of their states but also to alter to an end in the last quarter of the 20th century, a new era the very being of their citizens. In different ways and to of liberation emerged. The transition to democracy and the different degrees, class, age, race, and gender—Mussolini broad-based coalitions then formed renewed the hopes did not accidentally speak of the “fascist man”—were and expectations of justice, equality, and freedom that had crucial to this new kind of being. In this course, we will look been shattered by torture, censorship, and state power. into the ideologies and practices that formed the basis of But the era that emerged from those transitions—and “being totalitarian,” as well as the resistance to them. which is coming to an end—is full of contradictions. Bigger and smaller acts of resistance to those regimes’ Alongside the liberation of prisoners and the press and the claims on their citizens meant that their totalitarian return to party politics came the demise of social aspirations were never quite achieved. In light of the revolution and the retreat of the left. Alongside the increased frequency with which the terms “fascist” and liberalization of markets and the so-called neoliberal “totalitarian” are being used in today’s political debates, reforms came innovative social policies and a multiplicity 74 History of social movements, the most salient of which were led by answer these questions. In addition, students will be able indigenous groups and peasant-based organizations. to choose other African countries to study in depth in Similarly, the ascendancy and hegemony of liberal ideas order to gain as broad a picture as possible of this complex and policies gave rise to a new left, which brought the and important topic. While we will primarily focus our world’s attention back to Latin America with its inquiries by using historical works, we will actively monitor combination of growth and equality. This course will innovations in African countries resulting from the examine the dynamics of revolution and counterrevolution COVID-19 pandemic with the goal of developing a deeper in which contemporary Latin America emerged; study the understanding of what it takes to maintain a sense of origins of neoliberalism in Latin America and its economic “good health” in Africa. and political repercussion; delve in the contradictions of the democratic transitions and its legacies; and explore ‘The Founders’ in Film and Fiction the new rural, labor, feminist, and indigenous movements that challenged both neoliberalism and democracy. Eileen Ka-May Cheng Open, Seminar—Spring | 5 credits We were told that George Washington never told a lie and Gendered Histories of Sickness and confessed to his much chagrined father that he chopped Health in Africa down the fabled cherry tree. Was this the myth to inspire Mary Dillard trust in “The Founding Fathers” and the infant democracy? Intermediate, Seminar—Fall | 5 credits But the myths continue. For more than two centuries, “The How does an individual’s gender expression determine Founding Fathers” have been a touchstone for American how s/he or they receive health care in Africa? In what identity. Americans have expressed their fascination with ways does gender influence who provides health care, the “The Founders” not only in the political arena but also in kind of care that they offer, or the social determinants of the realm of fiction in works ranging from James Fenimore peoples’ health? In the 19th, 20th and early 21st centuries, Cooper’s novel The Spy to the HBO series John Adams and African citizens, refugees, and internally displaced the Broadway musical Hamilton. What is the source of this persons have had to cope with a range of health care fascination? But most importantly, who were “The challenges. These include: high levels of disability as a Founders” that have such a hold on the American result of car accidents and work-related injuries; historical imagination, and what did they actually stand disruptions to health care services and food provision for? This course will explore these questions by looking at stemming from war or political unrest; lack of supplies and the different ways in which “The Founders” have been access to quality care resulting from neoliberal economic represented in film and fiction from their own time to the policies; and, most recently, the challenges of food present. We will consider a variety of media, including insecurity due to seasonal locust infestations. These novels, art, plays, films, and television. We will look at how concerns paint a bleak picture of the status of health and those fictional portrayals reflect larger cultural changes health care provision in Africa. Epidemics like ebola and and at the different political and social purposes that they cholera complicate conditions for people seeking to served. Would the musical glorification of Hamilton have improve the quality of their health. In addition, pandemics been a hit during the Great Depression? We will also like HIV/AIDS and now COVID-19 have transformed examine the extent to which those portrayals conformed demographics and gender relations in both predictable to historical reality, using them to look more broadly at the and unexpected ways. Despite these challenges, millions relationship between history and fiction. What can fiction of African men, women, and children find ways to survive contribute to historical understanding, and what are its and respond creatively in order to address their needs for limits as a medium of historical representation? health and wellbeing. This class is organized around the understanding that the idea of “good health” is a useful Mainland Chinese Cinema, Culture, critical lens through which to analyze gender-related and Identity From 1949 to the questions. How do women, men, and LGBTQ+ individuals organize, navigate, and seek care in order to attain good Present health? What historical, political, and economic factors Michael Cramer, Kevin Landdeck influence the provision of quality health care? How have Open, Joint seminar—Spring | 5 credits African citizens, governments, faith communities, This seminar course will examine both the historical and activists, and indigenous healers responded to the cultural context of mainland Chinese cinema from 1949 to challenges associated with disease and the goal of the present. The course will be focused on full-length maintaining good health? Because the African continent is feature films from the People’s Republic of China, massive and every country is complex and diverse, this providing an eclectic mix of movies covering socialist class will use case studies from countries like Rwanda, propaganda of the high Maoist period (1949-76), the South Africa, Nigeria, Tunisia, Ethiopia, and Kenya to critical stances of the “Fifth Generation” (of graduates THE CURRICULUM 75 from the Beijing Film Academy) in the 1980s and early As many leaders of the international community 1990s, the more entertainment-focused films of post- consigned the “age of empire” to the dustbin of history, Deng (2000s) China, as well as contemporary art films the world witnessed, in rapid succession, the dissolution of that are largely seen outside of the commercial exhibition European overseas imperial configurations and the circuit. This wide variety of films will open up questions of consequent formation of myriad new nation states across cinematic representations of Chinese identity and culture Asia, Africa, the Middle East, and the Caribbean. This in at least four major modes: socialist revolutionary seminar provides an in-depth historical inquiry into the (1949-76), critical reflections on China’s past and the global phenomenon of decolonization in the post-World revolution (1982-1989), what one might call neoliberal War II era. The course will adopt a comparative and entertainment (1990-present), and the more underground transnational lens, exploring—through a wide range of art cinema that has emerged as mainstream Chinese both secondary and primary sources—the complex cinema has become increasingly commercial. Along with historical processes that attended decolonization in the the close analysis of films (their narrative structure, British, French, Italian, Dutch, and Portuguese imperial audiovisual language, relationship to other films from both domains. Particular attention will be paid to the following China and beyond), the course will deal with Confucian questions: Why did European imperialism end when it did, legacies in Chinese society, communist revolutionary and how did the politics of anti-colonial nationalism vary spasms and the censorship system, and the more open across the different empires? How did nationalist market and ideology of the post-Mao reform era. Assigned movements and local elites negotiate the end of imperial readings will be varied, as well. Several key movies will be rule, and what challenges did they face in their attempts to paired with their textual antecedents (e.g., LU Xun’s New build postcolonial societies? What role did international Year’s Sacrifice will be read alongside HU Sang’s by the organizations such as the United Nations play in same title, while LI Zhun’s The Biography of LI constructing the new decolonized world order? How did Shuangshuang will accompany the 1962 movie that the Cold War impact decolonization? How did followed). Appropriate readings will cover important decolonization work within nascent frameworks in post- historical background in some detail; for example, the World War II international law, particularly concerning the Great Leap Forward (1959-62) and the Cultural legal status of postcolonial national citizens as well as Revolution (1966-76) are both crucial events for migrants? And finally, to what extent has decolonization understanding the revolutionary experience, while the led to a truly “decolonized” world order? Or, to what extent latter is particularly relevant for its impact on reform-era have older imperial discourses, ideologies, and cultural filmmakers. Other readings will focus specifically on prejudices persisted into the era of postcolonial cinema, ranging from broad historical overviews on the independence and self-determination? Conference work material/financial conditions of production, distribution, for this seminar will take the form of small-group work: and exhibition; close analyses of individual films; the Each group will undertake research relating to the transition from socialist to postsocialist cinema and the experience of decolonization in a different European construction of “Chineseness” as a object for the Western imperial context (British, French, Italian, Dutch, or gaze to the avant-garde/independent responses to the Portuguese). current global/commercial Chinese cinema. This course is an open superseminar (capped at 30 students), meeting Neoliberalism once a week for two and half hours in order to facilitate in- depth discussions of paired material; for example, two Margarita Fajardo movies or a movie and significant historical texts (either Open, Seminar—Spring | 5 credits | Hybrid Remote/In- primary or secondary). In addition to this weekly class Person time, there will be required screenings of film (one or two Neoliberalism is a widely used, abused, and controversial per week). Students will be divided evenly between the two term that is often used to identify a historical era that, professors for conferences, using the regular model of paradoxically, is also described as the “end of history.” biweekly meetings. Sometimes, the term is used synonymously with globalization, a process that nonetheless has been deepening for hundreds of years. Other times, Decolonization and the End of Empire neoliberalism is equated with capitalism despite the Matthew Ellis term’s socialist origins. Although neoliberalism as a set of Open, Large seminar—Spring | 5 credits ideas, policies, and practices spread ubiquitously across Among the most salient features of the new international the globe, it had many different local origins and effects. order that was ushered in by the end of World War II and This course will explore the history of neoliberalism in its the creation of the United Nations in 1945 was the political, intellectual, social, economic, and cultural emergence of an unprecedented global wave of dimensions, as well as in the different manifestations decolonization that would last for roughly three decades. around the world. We will address the role of international 76 History institutions, right- and left-wing politics, economists, At Home in Another Country: experts, and technocrats in bringing about “neoliberal” Afropean Communities in the 20th projects—as well as the impact of the set of neoliberal ideas and practices on states and markets, politics and Century–21st Century citizenship, environment and environmentalism, race and Kishauna Soljour ethnicity, and welfare policies and social justice, among Open, Seminar—Spring | 5 credits others—in Latin America and other parts of the world. This This course examines the intertwined developments of course will have both in-person and online components to 20th- and 21st-century globalization and transnational be discussed with the group and will have a collaborative, immigration from Africa to Europe. We’ll begin with an web-based, research- and writing-heavy conference introduction to the major themes and theories project. The course is open level, but students with underpinning “African” and “European” histories to experience in other social-science courses are especially unpack the creation of an Afropean identity and encouraged to enroll. community. While many historians interested in “modern European immigration” focus on the last 15 years as the starting point for mass migration to Europe, we will go Nazis on Screen: The Third Reich in further back in time and focus on a critical catalyst as a Film, From The Great Dictator to result of World War II. Throughout the course of the Inglorious Basterds semester, we will use four nation-state case Philipp Nielsen studies—Britain, France, Germany, and Italy—to isolate Open, Seminar—Spring | 5 credits particular moments of Afropean agency, as well as the Movies shape the way we see the world. They also shape relationship of race and class, gender, sexuality, and the way we think about history. Holocaust, the miniseries nationalism. In order to do that, we will focus on of 1978, did more to sensitize the American public, as well conceptions of citizenship and how Afropeans were able to as the German public, toward the mass murder of politicize their identity to vie for inclusion within various European Jews—and also popularized the term—than societies. Delving into sports, activism, music, literary most books written about The Holocaust until then. works, and film, we will examine the impact of African Fifteen years later, Schindler’s List once more confronted migrants in contemporary Europe. By exploring audiences with the very personal histories of Jewish transformations in Africa, the Atlantic world, and Europe, victims during The Holocaust while, at the same time, students will consider new ways of conceptualizing introducing the figure of the “good German.” While films cultural and sociopolitical change in our current society. about the Third Reich and The Holocaust continue to be reliable box-office hits, both as blockbusters and as art- Reconstructing Womanhood II: house movies (Alone in Berlin, Operation Valkyrie, The Fall, Writers and Activists in the United and Inglorious Basterds are just a few examples from the 2000s), attempts to visualize the Third Reich from outside States, 1930–1990 began during its existence. This course seeks to Lyde Cullen Sizer investigate the changing representations of the Third Sophomore and Above, Small seminar—Spring | 3 credits Reich. The films literally put changing views about its “You must not tell anyone,” my said, “what I am history on the screen and shaped the public’s idea about about to tell you,” begins Maxine Hong Kingston’s 1976 the Third Reich. Over the course of the semester, we will memoir of a girlhood among ghosts. This course will be a analyze the range of genres and approaches to the topic in continuation of the work of the fall, as well as a stand- their historical and national context. Most of the movies alone seminar. In this semester, we will explore the stories will be from the United States and Germany, with forays that women writers have not always told—focusing, in into Eastern European and Israeli representations of the particular, on women writers from outside the mainstream Third Reich. This is not a film-studies course but, rather, of the time, women who chronicled and critiqued an one that explores the legacy and memory of the Third American world that sought to silence them in some way. Reich through film. The movie screenings will be As in the fall, we will focus around issues of gender and accompanied by weekly readings. By the end of the gender convention; race, racial prejudice, and the legacy of semester, students will have familiarized themselves with enslavement; immigration, migration, and national the different and historically contingent ways in which the identity; class and elitism; and sex and sexuality. Third Reich was and is viewed. Students will be introduced to the use of films as historical sources, the influence of movies on public history, as well as the legacy of the Third Reich in postwar politics. Having completed Being Totalitarian, the fall 2021 seminar, is helpful but not mandatory. THE CURRICULUM 77 Gender, Education, and Opportunity First-Year Studies: Masterworks of Art and Architecture of in Africa the Western Tradition (p. 11), Jerrilynn Dodds Art History Mary Dillard East vs. West: Europe, the Mediterranean, and Western Intermediate/Advanced, Seminar—Spring | 5 credits Asia From Antiquity to the Modern Age (p. 12), David In modern Africa, equity in education—whether in relation Castriota Art History to gender, ethnicity, race, class, or religion—remains an Sursum Corda: Art and Architecture from Michelangelo to important arena of debate. As formal colonial rule ended the Dawn of the Enlightenment, 1550-1700 (p. 13), on the continent and more African nations gained Joseph C. Forte Art History independence, education became synonymous with Global Modernism, Internationalism, and the Cold War: modernity and a leading indicator of a country’s progress 1930s, 1960s, 1990s (p. 13), Gemma Sharpe Art toward development. Gender and class biases played (and History continue to play) a powerful role in determining who Greeks, Romans, and Barbarians (p. 14), David Castriota received access to formal education. Even though Art History traditional education was believed to be “accessible to all,” Home/Nation: 20th-Century Asian Art–via New the demands of traditional education were often arduous, York (p. 14), Gemma Sharpe Art History painful, and in direct conflict with Western schooling. Paris: A History Through Art, Architecture, and City While African governments and multilateral organizations Planning (p. 15), Jerrilynn Dodds Art History like the United Nations and UNICEF emphasize the First-Year Studies: Reform and Revolution: China’s 20th importance of more children attending school, disruptions Century (p. 16), Kevin Landdeck Asian Studies as a result of political conflict, civil war, or infectious Chinese Literature, Folktales, and Popular Culture (p. 16), disease (including tuberculosis, HIV/AIDS, and now Ellen Neskar Asian Studies COVID-19) undermine families’ abilities to keep children in Japan’s Heisei Era (1989–2019): Culture, Society, and school. This class studies the history of education in Experiences (p. 17), Jesse Bia Asian Studies Africa, focusing on a wide variety of training, classroom Asian Imperialisms, 1600–1953 (p. 18), Kevin Landdeck experiences, and socialization practices. In particular, we Asian Studies will investigate the influence of gender in defining access What is Money? Economic and Legal Perspectives (p. 38), to educational opportunity. An awareness of the Jamee Moudud Economics significance of both formal and nonformal education has Intermediate Microeconomics (p. 39), Jamee Moudud been reflected within the realms of African politics, Economics popular culture, literature, and film. Because of this, we The Environmental Imagination: Perspectives From the will use a range of sources to investigate how gender Social Sciences, Environmental Humanities, and the influences access to educational opportunity. We will Arts (p. 42), Charles Zerner Environmental Studies begin by questioning prevailing constructs of gender and Intermediate French I (Section I): Contemporary French determine how relevant Western gender categories have and Francophone Culture (p. 57), Eric Leveau French historically been for African societies. By focusing our Food, Agriculture, Environment, and Development (p. 61), readings on countries as diverse as Nigeria, Tanzania, Joshua Muldavin Geography Ethiopia, Senegal, and South Africa, students will develop Introduction to Development Studies: The Political Ecology a broad overview of educational policy changes and of Development (p. 62), Joshua Muldavin Geography practices across the continent and leave the class better Beginning Greek (p. 65), Emily Anhalt Greek (Ancient) able to analyze debates about education in Africa. Beginning Italian: Viaggio in Italia (p. 80), Tristana Rorandelli Italian Courses offered in related disciplines this year are listed Intermediate Italian: Modern Italian Culture and below. Full descriptions of the courses may be found under Literature (p. 80), Tristana Rorandelli Italian the appropriate disciplines. Intermediate Latin (p. 82), Emily Anhalt Latin Perverts in Groups: Queer Social Lives (p. 83), Julie Ethnographic Research and Writing (p. 7), Robert R. Abraham Lesbian, Gay, Bisexual, and Transgender Desjarlais Anthropology Studies Telling Lives: Life History in Anthropology (p. 7), Mary A. First-Year Studies: Romanticism to Modernism in English- Porter Anthropology Language Poetry (p. 85), Neil Arditi Literature Children in Imperial Projects (p. 8), Mary A. Porter Theatre and the City (p. 86), Joseph Lauinger Literature Anthropology The Forms and Logic of Comedy (p. 86), Fredric Smoler Faking Families (p. 8), Mary A. Porter Anthropology Literature Black England: From Tudors to Two-Tone (p. 9), Mary A. Studies in Ecocriticism: The Idea of Nature in the Western Porter Anthropology Tradition (p. 87), Eric Leveau Literature 78 International Studies Milton, Blake, and the Bible (p. 87), William Shullenberger INTERNATIONAL STUDIES Literature Toward a Theatre of Identity: Ibsen, Chekhov, and What kind of global society will evolve in the 21st century? Wilson (p. 89), Joseph Lauinger Literature Linked by worldwide organizations and communications, Literature in Translation: 20th-Century Italian Literature yet divided by histories and ethnic identities, people and Culture (p. 91), Tristana Rorandelli Literature everywhere are involved in the process of reevaluation and Conscience of the Nations: Classics of African self-definition. To help students better understand the Literature (p. 92), William Shullenberger Literature complex forces that will determine the shape of the 21st History Plays (p. 92), Fredric Smoler Literature century, Sarah Lawrence College offers an The Music of What Happens: Alternate Histories and interdisciplinary approach to international studies. Counterfactuals (p. 95), Fredric Smoler Literature Broadly defined, international studies include the The Music of Russia (p. 103), Martin Goldray Music dynamics of interstate relations; the interplay of cultural, Existentialism (p. 113), Roy Ben-Shai Philosophy ideological, economic, and religious factors; and the Critical Race Theory: Philosophical Perspectives (p. 113), multifaceted structures of Asian, African, Latin American, Carmen De Schryver Philosophy Middle Eastern, and European societies. Women Philosophers in the 20th and 21st A variety of programs abroad further extends Centuries (p. 113), Roy Ben-Shai Philosophy students’ curricular options in international studies. The Decolonizing Philosophy (p. 114), Carmen De Schryver experience of overseas learning, valuable in itself, also Philosophy encourages more vivid cultural insight and integration of Introduction to International Relations (p. 119), Yekaterina different scholarly perspectives. The courses offered in Oziashvili Politics international studies are listed throughout the catalogue International Politics and Ethnic Conflict (p. 120), in disciplines as diverse as anthropology, art history, Asian Yekaterina Oziashvili Politics studies, economics, environmental science, geography, Racism and the Media in America (p. 121), Andrew history, literature, politics, and religion. Rosenthal Politics International Perspectives on Psychology (p. 126), Courses offered in related disciplines this year are listed Christopher Hoffman Psychology below. Full descriptions of the courses may be found under Doing Research With Young People (p. 132), Christopher the appropriate disciplines. Hoffman Psychology Readings in Christian Mysticism: Late Antiquity (p. 137), Ethnographic Research and Writing (p. 7), Robert R. Ron Afzal Religion Desjarlais Anthropology The Emergence of Christianity (p. 137), Ron Afzal Religion Childhood Across Cultures (p. 7), Deanna Barenboim Jewish Life in Eastern Europe: A Diaspora Case Anthropology Study (p. 137), Glenn Dynner Religion Telling Lives: Life History in Anthropology (p. 7), Mary A. Modern Jewish Literature (p. 138), Glenn Dynner Religion Porter Anthropology Jewish Autobiography: Between History & Immigration and Identity (p. 7), Deanna Barenboim Literature (p. 139), Glenn Dynner Religion Anthropology Beginning Russian (p. 140), Melissa Frazier Russian Children in Imperial Projects (p. 8), Mary A. Porter Intermediate Russian (p. 141), Natalia Dizenko Russian Anthropology Sociology of Global Inequalities (p. 143), Parthiban Indigenous Mobilities (p. 9), Deanna Barenboim Muniandy Sociology Anthropology Both Public and Private: The Social Construction of Family First-Year Studies: Masterworks of Art and Architecture of Life (p. 143), Shahnaz Rouse Sociology the Western Tradition (p. 11), Jerrilynn Dodds Art Bad Neighbors: Sociology of Difference, Diversity, and History Cosmopolitanism in the City (p. 143), Parthiban Global Modernism, Internationalism, and the Cold War: Muniandy Sociology 1930s, 1960s, 1990s (p. 13), Gemma Sharpe Art The Sociology of Sports (p. 144), Shahnaz Rouse Sociology History Lineages of Utopia (p. 144), Shahnaz Rouse Sociology Home/Nation: 20th-Century Asian Art–via New First-Year Studies: History and Histrionics: A Survey of York (p. 14), Gemma Sharpe Art History Western Drama (p. 149), Stuart Spencer Theatre Chinese Literature, Folktales, and Popular Culture (p. 16), Diversity and Equity in Education: Issues of Gender, Race, Ellen Neskar Asian Studies and Class (p. 190), Nadeen M. Thomas Women's Japan’s Heisei Era (1989–2019): Culture, Society, and History Experiences (p. 17), Jesse Bia Asian Studies Stories and... (p. 178), Myra Goldberg Writing Intermediate Chinese (p. 27), Fang-yi Chao Chinese Writing Our Moment (p. 179), Marek Fuchs Writing What is Money? Economic and Legal Perspectives (p. 38), Ecopoetry (p. 182), Marie Howe Writing Jamee Moudud Economics THE CURRICULUM 79 Political Economy of Global Climate Change (p. 38), An Li Literature in Translation: 20th-Century Italian Literature Economics and Culture (p. 91), Tristana Rorandelli Literature Environmental and Ecological Economics: Theories and Conscience of the Nations: Classics of African Policies (p. 38), An Li Economics Literature (p. 92), William Shullenberger Literature Intermediate Microeconomics (p. 39), Jamee Moudud Global Circulations: Art and Pop Music of Asia (p. 103), Economics Niko Higgins Music Political Economy of Environmental Justice (p. 39), An Li Sounding Creativity: Musical Improvisation (p. 103), Niko Economics Higgins Music Political Economy of Cities (p. 39), An Li Economics African States in the International System: Imperialism, Beginning French (p. 57), Jason Earle French Resistance, Development, Intervention (p. 120), Elke Intermediate French I (Section I): Contemporary French Zuern Politics and Francophone Culture (p. 57), Eric Leveau French State Terror and Terrorism: The Radicalization of Intermediate French II: The Writing of Everyday Life in Contention (p. 120), Elke Zuern Politics 20th-Century French Literature (p. 58), Jason Earle International Politics and Ethnic Conflict (p. 120), French Yekaterina Oziashvili Politics Food, Agriculture, Environment, and Development (p. 61), The Politics of Addressing the Past: Apology, Repatriation, Joshua Muldavin Geography Reparation, Remembrance (p. 121), Elke Zuern Introduction to Development Studies: The Political Ecology Politics of Development (p. 62), Joshua Muldavin Geography International Perspectives on Psychology (p. 126), The Rise of the New Right in the United States (p. 62), Christopher Hoffman Psychology Joshua Muldavin Geography Crossing Borders and Boundaries: The Social Psychology of Beginning Greek (p. 65), Emily Anhalt Greek (Ancient) Immigration (p. 127), Gina Philogene Psychology Becoming Modern: Europe From 1760 to 1914 (p. 68), Philip Childhood Across Cultures (p. 128), Deanna Barenboim Swoboda History Psychology International Law (p. 69), Mark R. Shulman History Immigration and Identity (p. 131), Deanna Barenboim Human Rights (p. 69), Mark R. Shulman History Psychology The Emergence of the Modern Middle East (p. 69), Doing Research With Young People (p. 132), Christopher Matthew Ellis History Hoffman Psychology Winds of Doctrine: Europe in the Age of the Perspectives on 9/11: Religion, Politics, and Reformation (p. 69), Philip Swoboda History Culture (p. 138), Kristin Zahra Sands Religion Theories at Heart (p. 70), Antonia Carcelén-Estrada Intermediate Russian (p. 141), Natalia Dizenko Russian History First-Year Studies: Borders, Nations, and Mobilities: A Nationalism (p. 71), Matthew Ellis History Sociological Introduction (p. 142), Parthiban Revolutions in Cuba: Local Origins, Global Fault Muniandy Sociology Lines (p. 72), Jesse Horst History Sociology of Global Inequalities (p. 143), Parthiban Liberations: Contemporary Latin America (p. 73), Margarita Muniandy Sociology Fajardo History Both Public and Private: The Social Construction of Family Decolonization and the End of Empire (p. 75), Matthew Ellis Life (p. 143), Shahnaz Rouse Sociology History Bad Neighbors: Sociology of Difference, Diversity, and At Home in Another Country: Afropean Communities in the Cosmopolitanism in the City (p. 143), Parthiban 20th Century–21st Century (p. 76), Kishauna Soljour Muniandy Sociology History The Sociology of Sports (p. 144), Shahnaz Rouse Sociology Beginning Italian: Viaggio in Italia (p. 80), Tristana Lineages of Utopia (p. 144), Shahnaz Rouse Sociology Rorandelli Italian Literatures From the Spanish-Speaking World: The Intermediate Italian: Modern Italian Culture and Novella (p. 147), Eduardo Lago Spanish Literature (p. 80), Tristana Rorandelli Italian Beginning Japanese (p. 81), Sayuri I. Oyama Japanese ITALIAN Advanced Beginning Japanese (p. 81), Izumi Funayama Japanese The study of Italian at Sarah Lawrence College offers the Intermediate Latin (p. 82), Emily Anhalt Latin rigors of language study and the joys of immersion in one First-Year Studies: Difficultomxn W of the of the richest cultures of the West. The course of study Americas (p. 85), Heather Cleary Literature consists of classroom, conference, and conversational Italian and Japanese Women Writers: A Dialogue (p. 88), components, all enhanced by the flexible academic Sayuri I. Oyama, Tristana Rorandelli Literature structure of the College and its proximity to New York City. Can This Republic Be Saved? Cautionary Evidence From In the classroom, students learn Italian grammar, syntax, Ancient Rome (p. 88), Emily Anhalt Literature and phonology, using sources of everyday communication 80 Italian and literary texts. In conference sessions—especially cinema, art, opera, and dialects. The Italian program helpful in customizing study to each student’s level of organizes trips to the Metropolitan Opera and relevant fluency—students pursue reading and writing related to exhibits in New York City, as well as offering the possibility topics that compel them. And in conversation meetings, of experiencing Italian cuisine first-hand as a group. The students simply talk with native Italians about anything of course is for a full year, by the end of which students will common interest. Individual conference projects may be attain a basic competence in all aspects of the language. as creative and diverse as is appropriate for each student and can include interdisciplinary work in the Italian Intermediate Italian: Modern Italian language. As in other disciplines, the resources of New York Culture and Literature City enhance student experience. Opera performances at Tristana Rorandelli the Metropolitan Opera (after preparatory readings from Intermediate, Seminar—Year | 10 credits libretti), film series and lectures, museums, and This course aims at improving and perfecting the internships related to conference work all offer ways to students’ speaking, listening, reading, and writing skills, as bring Italian to life. And for bringing students to Italy, well as their knowledge of Italy’s contemporary culture Sarah Lawrence’s study program in Florence maintains the and literature. In order to acquire the necessary knowledge small scale and individual attention that is the mark of the of Italian grammar, idiomatic expressions, and vocabulary, College, providing an exceptional opportunity to combine a a review of all grammar will be carried out throughout the yearlong academic experience with the cultural immersion year. As an introduction to modern Italian culture and of a homestay living arrangement. Advanced students literature, students will be introduced to a selection of have the opportunity to spend the second semester of short stories, poems, and passages from novels, as well as their year abroad studying at the University of Catania in specific newspaper articles, music, and films in the Sicily. original language. Some of the literary works will include The Italian program periodically offers literature selections from Umberto Eco, Italo Calvino, Natalia courses in Italian or in translation as part of the literature Ginzburg, Gianni Rodari, Marcello D’Orta, Clara Sereni, curriculum. Among these courses are: Images of Heaven Dino Buzzati, Stefano Benni, Antonio Tabucchi, Alberto and Hell; The Three Crowns: Dante, Petrarch, and Moravia, Achille Campanile, and Elena Ferrante. In order to Boccaccio; and Fascism, World War II, and the Resistance address the students’ writing skills, written compositions in 20th-Century Italian Narrative and Cinema. will be required as an integral part of the course. All material is accessible on myslc. Conferences are held on a Beginning Italian: Viaggio in Italia biweekly basis; topics might include the study of a Tristana Rorandelli particular author, literary text, film, or any other aspect of Open, Seminar—Year | 10 credits Italian society and culture that might be of interest to the This course, for students with no previous knowledge of student. Conversation classes (in small groups) will be Italian, aims at giving the student a complete foundation in held twice a week with the language assistant, during the Italian language with particular attention to oral and which students will have the opportunity to reinforce what written communication and all aspects of Italian culture. they have learned in class and hone their ability to The course will be conducted in Italian after the first communicate in Italian. When appropriate, students will month and will involve the study of all basic structures of be directed to specific internship opportunities in the New the language—phonological, grammatical, and York City area, centered on Italian language and culture. syntactical—with practice in conversation, reading, Prerequisite: Beginning Italian or the equivalent composition, and translation. In addition to material covering basic Italian grammar, students will be exposed Courses offered in related disciplines this year are listed to fiction, poetry, songs, articles, recipe books, and films. below. Full descriptions of the courses may be found under Group conferences (held once a week) aim at enriching the appropriate disciplines. the students’ knowledge of Italian culture and developing Sursum Corda: Art and Architecture from Michelangelo to their ability to communicate. This will be achieved by the Dawn of the Enlightenment, 1550-1700 (p. 13), readings that deal with current events and topics relative Joseph C. Forte Art History to today’s Italian culture. Activities in pairs or groups, Being Totalitarian: Making Hitler’s Germany, Mussolini’s along with short written assignments, will be part of the Italy, and Stalin’s Soviet Union (p. 73), Philipp Nielsen group conference. In addition to class and group History conference, the course has a conversation component in Italian and Japanese Women Writers: A Dialogue (p. 88), regular workshops with the language assistant. Sayuri I. Oyama, Tristana Rorandelli Literature Conversation classes are held twice a week (in small Literature in Translation: 20th-Century Italian Literature groups) and will center on the concept of viaggio in Italia: a and Culture (p. 91), Tristana Rorandelli Literature journey through the regions of Italy through cuisine, THE CURRICULUM 81 JAPANESE Courses offered in related disciplines this year are listed below. Full descriptions of the courses may be found under The Japanese program offers courses in the Japanese the appropriate disciplines. language and Japanese literature (in English translation). Japan’s Heisei Era (1989–2019): Culture, Society, and In Japanese language courses, students build Experiences (p. 17), Jesse Bia Asian Studies communicative skills in listening comprehension, Butoh Through LEIMAY Ludus (p. 33), Ximena Garnica speaking, reading, and writing. Students also meet weekly, Dance one-on-one, with a language assistant who supports each Italian and Japanese Women Writers: A Dialogue (p. 88), step in developing Japanese language proficiency. Sayuri I. Oyama, Tristana Rorandelli Literature In Japanese literature courses, students explore the Japanese Religion and Culture (p. 138), Griffithoulk F richness and diversity of Japanese literature from its Religion earliest written records to contemporary fiction. Sarah Lawrence College offers two official tionsop to LATIN study in Japan: Tsuda (Women’s) University in Tokyo and Kansai Gaidai University in Osaka. Sarah Lawrence College The Sarah Lawrence College classics program emphasizes students also have the opportunity to spend a year the study of the languages and literature of Ancient or semester in Japan on other programs offered by other Greece and Rome. Greek and Latin constitute an essential approved colleges and universities. For more information: component of any humanistic education, enabling http://www.sarahlawrence.edu/japan. students to examine the foundations of Western culture and explore timeless questions concerning the nature of Beginning Japanese the world, the place of human beings in it, and the Sayuri I. Oyama components of a life well lived. In studying the literature, Open, Seminar—Year | 10 credits history, philosophy, and society of the Ancient Greeks and Beginning Japanese is an introduction to Japanese Romans, students come to appreciate them for language and culture, designed for students who have had themselves, examine the continuity between the ancient little to no experience learning Japanese. The goal of the and modern worlds, and, perhaps, discover “a place to course is to develop four basic skills: listening stand”—an objective vantage point for assessing modern comprehension, speaking, reading, and writing (hiragana, culture. katakana, and some basic kanji) in modern Japanese, with In their first year of study, students acquire an emphasis on grammatical accuracy and socially proficiency in vocabulary, grammar, and syntax, with the appropriate language use. In addition to classes with the aim of reading accurately and with increasing insight. faculty instructor, there are weekly, one-on-one tutorials Selected passages of ancient works are read in the original with one of the Japanese language assistants. languages almost immediately. Intermediate and advanced courses develop students’ critical and analytical Advanced Beginning Japanese abilities while exploring ancient works in their literary, historical, and cultural context. Conference projects Izumi Funayama provide opportunities for specialized work in areas of Intermediate, Seminar—Year | 10 credits interest in classical antiquity. Recent conference projects This course is for students who have completed Beginning include close readings of Homer’s Iliad, Aristophanes’s Japanese or its equivalent. Students will continue to Clouds, Pindar’s Odes, Plato’s Republic, Cicero’s de develop basic skills in listening comprehension, speaking, Amicitia, the poetry of Catullus, and Vergil’s Aeneid, as reading, and writing while expanding their vocabulary and well as studies of modern theories of myth, Nietzsche’s knowledge of grammar. At the end of the course, students Birth of Tragedy (in connection with the tragedies of should be able to handle simple communicative tasks and Aeschylus, Sophocles, and Euripides), the social situations effectively, understand simple daily implications of Roman domestic architecture, and a conversations, write short essays, read simple essays, and comparison of Euripides’s Hippolytus with Racine’s discuss their content. In addition to classes with the Phèdre. faculty instructors, there are weekly, one-on-one tutorials Greek and Latin will be especially beneficial for with one of the Japanese language assistants. students interested in related disciplines, including Prerequisite: Prior Japanese language before taking this religion, philosophy, art history, archaeology, history, course (i.e., Beginning Japanese or the equivalent). political science, English, comparative literature, and Permission of the instructor required. medieval studies, as well as education, law, medicine, and business. Greek and Latin can also prove valuable to all those who wish to enrich their imagination in the creative pursuits of writing, dance, music, visual arts, and acting. 82 Latin American and Latinx Studies Intermediate Latin As this program is concerned with a broad set of border crossings, faculty in LALS are also committed to Emily Anhalt expanding educational experiences beyond Sarah Intermediate, Seminar—Year | 10 credits Lawrence College. Accordingly, students are encouraged See the full description under Literature: Can This to study abroad through Sarah Lawrence College programs Republic Be Saved? Cautionary Evidence From Ancient in Cuba, Argentina, and Peru or with other programs in Rome. Intermediate Latin students will complete the Latin America. Students will also have opportunities to reading assignments for the literature course and attend explore the borderlands closer to Sarah Lawrence College, all literature seminar meetings. In place of an independent including Latinx communities in New York City and conference project, Intermediate Latin students will read Westchester County. selected works in Latin and attend twice-weekly Latin group conferences. Courses offered in related disciplines this year are listed below. Full descriptions of the courses may be found under Readings in Intermediate Latin the appropriate disciplines. Emily Anhalt Ethnographic Research and Writing (p. 7), Robert R. Intermediate, Seminar—Year | 6 credits Desjarlais Anthropology See the full description under Literature: Can This Childhood Across Cultures (p. 7), Deanna Barenboim Republic Be Saved? Cautionary Evidence From Ancient Anthropology Rome. Students will be exempt from the literature Immigration and Identity (p. 7), Deanna Barenboim seminars and some reading and writing assignments but Anthropology must attend the twice-weekly Latin group conferences. Indigenous Mobilities (p. 9), Deanna Barenboim Anthropology Courses offered in related disciplines this year are listed Global Modernism, Internationalism, and the Cold War: below. Full descriptions of the courses may be found under 1930s, 1960s, 1990s (p. 13), Gemma Sharpe Art the appropriate disciplines. History Food, Agriculture, Environment, and Development (p. 61), Beginning Greek (p. 65), Emily Anhalt Greek (Ancient) Joshua Muldavin Geography Can This Republic Be Saved? Cautionary Evidence From Introduction to Development Studies: The Political Ecology Ancient Rome (p. 88), Emily Anhalt Literature of Development (p. 62), Joshua Muldavin Geography LATIN AMERICAN AND LATINX The Rise of the New Right in the United States (p. 62), Joshua Muldavin Geography STUDIES First-Year Studies: Literature, Culture, and Politics in US History (p. 67), Lyde Cullen Sizer History The Latin American and Latinx studies (LALS) program is Rethinking Malcolm X, Black Panthers, and Young Lords: A devoted to the interdisciplinary investigation of Latin Radical Historiography (p. 68), Komozi Woodard American, Caribbean, and Latinx cultures, politics, and History histories. Through a variety of disciplines, students will Class, Race, Gender, Work: Readings in US Labor have opportunities to explore the vibrant cultural life of History (p. 70), Priscilla Murolo History Latin American and Caribbean countries, as well as the Social Protest and Cultural Critique: A Cultural and experiences of Latinx communities in the United States. Intellectual History of the United States (p. 70), Lyde Course offerings will include language, literature, Cullen Sizer History dance, film, music, art, and other cultural expressions as a Theories at Heart (p. 70), Antonia Carcelén-Estrada way to familiarize students with a world that is rich in History imagination, powerful in social impact, and defiant of the Nationalism (p. 71), Matthew Ellis History stereotypes usually imposed upon it. Students will also Revolutions in Cuba: Local Origins, Global Fault interrogate the complex political dynamics involved in Lines (p. 72), Jesse Horst History such processes as (post)colonialism, migration, Environmental Politics, Informality, and Democracy in revolution, social movements, citizenship, and the cultural Brazilian History (p. 72), Jesse Horst History politics of race, gender, sexuality, and class. The histories Reconstructing Womanhood I: Writers and Activists in the of conquest, colonialism, development, and resistance in United States, 1830–1930 (p. 73), Lyde Cullen Sizer the area also require broad inquiry into the often turbulent History and violent realities of political economic forces. Liberations: Contemporary Latin America (p. 73), Margarita Fajardo History THE CURRICULUM 83 Reconstructing Womanhood II: Writers and Activists in the Queer Americans: Henry James, United States, 1930–1990 (p. 76), Lyde Cullen Sizer Gertrude Stein, Willa Cather, and History First-Year Studies: Difficultomxn W of the James Baldwin Americas (p. 85), Heather Cleary Literature Julie Abraham Critical Race Theory: Philosophical Perspectives (p. 113), Sophomore and Above, Seminar—Year | 10 credits Carmen De Schryver Philosophy Queer Americans certainly, James, Stein, Cather, and Decolonizing Philosophy (p. 114), Carmen De Schryver Baldwin each fled “America.” James (1843-1916) and Philosophy Stein (1874-1946) spent their adult lives in Europe. Cather International Perspectives on Psychology (p. 126), (1873-1947) left Nebraska for Greenwich Village after a Christopher Hoffman Psychology decade in Pittsburgh, with a judge’s daughter along the Crossing Borders and Boundaries: The Social Psychology of way. Baldwin (1924-1987) left Harlem for Greenwich Immigration (p. 127), Gina Philogene Psychology Village, then the Village for Paris. As sexual subjects and Childhood Across Cultures (p. 128), Deanna Barenboim as writers, these four could hardly appear more different; Psychology yet, Stein described James as “the first person in Immigration and Identity (p. 131), Deanna Barenboim literature to find the way to the literary methods of the Psychology 20th century,” Cather rewrote James to develop her own From Secure Communities to the DREAM Act: Critical subjects and methods, and Baldwin found in James’s Themes and Reflections in Immigration Policy, the writings frameworks for his own. In the second half of the Livelihoods of Migrants, and Societal 19th century and the first half of the 20th, James, Stein, Inequality (p. 135), Luisa Laura Heredia Public Policy and Cather witnessed the emergence of modern Gold Hoops, Red Lipstick, and YHLQMDLG: The Cultural in understandings of homosexuality and made modern Everyday Politics and The Political in Everyday literature, each pushing boundaries, always in subtle or Culture (p. 135), Luisa Laura Heredia Public Policy dramatic ways. (Stein, for example, managed to parlay the Both Public and Private: The Social Construction of Family story of her Paris life with Alice B. Toklas into an American Life (p. 143), Shahnaz Rouse Sociology bestseller in 1933.) In the second half of the 20th century, The Sociology of Sports (p. 144), Shahnaz Rouse Sociology Baldwin began to dismantle modern understandings of Measuring Difference: Constructing Race, Gender, and sexuality and of literature. Examining the development of Ability (p. 144), Adrianna Munson Sociology their works side by side will allow us to push the Lineages of Utopia (p. 144), Shahnaz Rouse Sociology boundaries of lesbian/gay/queer cultural analyses by Beginning Spanish: A Glimpse Into the Hispanic World pursuing different meanings of “queer” and “American” through its Language and Culture (p. 146), Ximena through an extraordinary range of subjects and forms. Venturini Spanish Beginning with James on gender, vulnerability, and Advanced Beginning Spanish: Forms of Culture in the ruthlessness, this course will range from Cather’s pioneers Information Age (p. 146), Eduardo Lago Spanish and plantations to Stein on art and atom bombs and Intermediate Spanish I: Latin American and Spanish Visual Baldwin on sex and civil rights. We will read novels, Culture (p. 146), Ximena Venturini Spanish novellas, stories, essays, and memoirs by James, Cather, Advanced Intermediate Spanish: Political and Baldwin, plus Stein’s portraits, geographical histories, Creativity (p. 146), Heather Cleary Spanish lectures, plays, operas, and autobiographies. Literary and Literatures From the Spanish-Speaking World: Poetry and social forms were both inextricable and inseparable from the Short Story (p. 147), Eduardo Lago Spanish the gender and cross-gender affiliations and the class, Literatures From the Spanish-Speaking World: The race, and ethnic differences that were all urgent matters Novella (p. 147), Eduardo Lago Spanish for these four. James’s, Stein’s, Cather’s, and Baldwin’s lives and works challenge most conventional assumptions LESBIAN, GAY, BISEXUAL, AND about what it meant—and what it might mean—to be a queer American. Conference projects may include TRANSGENDER STUDIES historical and political, as well as literary, studies, focusing on any period from the mid-19th century to the present. Lesbian, gay, bisexual, and transgender studies (LGBT) is an interdisciplinary field that engages questions extending across a number of areas of study. Sarah Lawrence College Perverts in Groups: Queer Social offers students the opportunity to explore a range of Lives theories and issues concerning gender and sexuality Julie Abraham across cultures, categories, and historical periods. This Open, Seminar—Fall | 5 credits can be accomplished through seminar course work and Contradictory assumptions about the relation of discussion and/or individual conference research. homosexuals to groups have dominated accounts of 84 Lesbian, Gay, Bisexual, and Transgender Studies modern LGBT life. In Western Europe and the United hints, delicate suggestions, “positive images,” “negative States, from the late-19th century onward, have images,” and sympathy-grabbing melodramas to be been presented as profoundly isolated persons—burdened reviewed. There are high culture and high camp, tragedies by the conviction that they are the only ones ever to have and comedies, the good, the bad, and the awful to be had such feelings when they first realize their deviant enjoyed and assessed. How has modern culture thought desires and immediately separated by those desires from about sexuality and art, love and literature? How might we the families and cultures into which they were born. Yet, at think again? Conference work may be focused on a the same time, these isolated individuals have been seen particular artist, set of texts, or genre or some aspect of as inseparable from one another, part of a worldwide the historical background of the materials that we will be network, always able to recognize their peers by means of considering. mysterious signs decipherable only by other group members. Homosexuals were denounced as persons who Courses offered in related disciplines this year are listed did not contribute to society; homosexuality was below. Full descriptions of the courses may be found under presented as the hedonistic choice of reckless, self- the appropriate disciplines. indulgent individualism over sober social good. Nevertheless, all homosexuals were implicated in a Ethnographic Research and Writing (p. 7), Robert R. nefarious conspiracy, stealthily working through their web Desjarlais Anthropology of connections to one another to take over the world—or Faking Families (p. 8), Mary A. Porter Anthropology the political establishment of the United States, for Home/Nation: 20th-Century Asian Art–via New example, its art world, theatre, or film industries. Such York (p. 14), Gemma Sharpe Art History contradictions could still be seen in the battles that have Chinese Literature, Folktales, and Popular Culture (p. 16), raged since the 1970s, when queers began seeking public Ellen Neskar Asian Studies recognition of their lives within existing social institutions, Queer(ing) India: Literature, Film, and Law (p. 17), Shoumik from the military to marriage. LGBT persons were routinely Bhattacharya Asian Studies attacked as threats (whether to unit cohesion or the Global Queer Literature: Dystopias and Hope (p. 18), family) intent on destroying the groups they were working Shoumik Bhattacharya Asian Studies to openly join. In this class, we will use these Visions of Social Justice (p. 52), Damani Baker Filmmaking contradictions as a framework for studying the complex and Moving Image Arts social roles that queers have occupied and some of the First-Year Studies: Literature, Culture, and Politics in US complex social worlds they have created—at different History (p. 67), Lyde Cullen Sizer History times and places, shaped by different understandings of Social Protest and Cultural Critique: A Cultural and gender, race, class, ethnicity, and nationality—within the Intellectual History of the United States (p. 70), Lyde United States over the past century and a half. Our Cullen Sizer History sources will include histories, sociological and Reconstructing Womanhood I: Writers and Activists in the anthropological studies, the writings of political activists, United States, 1830–1930 (p. 73), Lyde Cullen Sizer fiction, and film. History Reconstructing Womanhood II: Writers and Activists in the United States, 1930–1990 (p. 76), Lyde Cullen Sizer Pretty, Witty, and Gay History Julie Abraham Queer(ing) India: Literature, Film, and Law (p. 90), Sophomore and Above, Seminar—Spring | 5 credits Shoumik Bhattacharya Literature Are you ready to review your cultural map? As Gertrude Cold War Black Feminism (p. 93), Elias Rodriques Stein once said, “Literature—creative Literature literature—unconnected with sex is inconceivable. But not Global Queer Literature: Dystopias and Hope (p. 93), literary sex, because sex is a part of something of which Shoumik Bhattacharya Literature the other parts are not sex at all.” More recently, Fran Women Philosophers in the 20th and 21st Leibowitz observed, “If you removed all of the Centuries (p. 113), Roy Ben-Shai Philosophy homosexuals and homosexual influence from what is Urban Health (p. 130), Linwood J. Lewis Psychology generally regarded as American culture, you would be Doing Research With Young People (p. 132), Christopher pretty much left with Let’s Make a Deal.” We do not have to Hoffman Psychology limit ourselves to America, however. The only question is, Emerging Adulthood (p. 133), Linwood J. Lewis Psychology where to begin: in the pantheon, in prison, or “in the Both Public and Private: The Social Construction of Family family”; in London, Paris, Berlin, or New York; with the Life (p. 143), Shahnaz Rouse Sociology “friends of Dorothy” or “the twilight women.” There are Measuring Difference: Constructing Race, Gender, and novels, plays, poems, essays, films, and critics to be read Ability (p. 144), Adrianna Munson Sociology and read about, listened to or watched. There are dark Lineages of Utopia (p. 144), Shahnaz Rouse Sociology THE CURRICULUM 85 Beginning Spanish: A Glimpse Into the Hispanic World First-Year Studies: “Travel is the through its Language and Culture (p. 146), Ximena Traveler”: Documentation and Venturini Spanish Intermediate Spanish I: Latin American and Spanish Visual Transformation in Modern and Culture (p. 146), Ximena Venturini Spanish Contemporary Travel Literature Performance Art (p. 170), Clifford Owens Visual and Studio Una Chung Arts Open, FYS—Year | 10 credits Edgy Memoirs (p. 180), Mary Morris Writing Fernando Pessoa wrote, “Life is what we make of it. Travel is the traveler. What we see isn’t what we see but what we LITERATURE are.” This intriguing insight into the nature of travel offers the starting point for an exploration of a diverse selection The literature discipline introduces students to the history of literature from the late 19th to 21st centuries. We will of written culture from antiquity to the present day, as well also make our own forays into travel writing with a series as to methods of research and textual analysis. Course of experiments, or exercises, in writing about place, offerings cover major works in English and other movement, journey. As a part of conference work, students languages in addition to literary criticism and theory. will work in small groups on collective projects. The course Some courses focus on individual authors (Virgil, has been organized into the following sections: (1) Shakespeare, Woolf, Murakami); others, on literary Ethnography and Travel; (2) Documenting Society in genres (comedy, epic), periods (medieval, postmodern), Crisis; (3) Race, Postcolonialism, and Queer Affiliations; and regional traditions (African American, Iberian). (4) Exile and Memory; (5) Shifting Borders; (6) Students are encouraged to employ interdisciplinary Peripheries. Authors may include: Mary Kingsley, Fyodor approaches in their research and to divide their time Dostoevsky, Fernando Pessoa, Franz Kafka, Antal Szerb, between past and present, as well as among poetry, Richard Wright, James Baldwin, Sidiya Hartman, Henri prose, drama, and theoretical texts. Michaux, Helene Cixous, Christa Wolf, Bruce Chatwin, Jamaica Kincaid, Americo Paredes, Jhumpa Lahiri, First-Year Studies: Romanticism to Michael Ondaatje, W.G. Sebald, Jose Saramago, Orhan Modernism in English-Language Pamuk, Pankaj Mishra, Dai Sijie, Ocean Vuong, Cristina Poetry Rivera Garza, Yoko Tawaka, Chimamanda Ngozi Dichie, and Robert Macfarlane. This course will have biweekly Neil Arditi conferences, with additional group conference meetings Open, FYS—Year | 10 credits on most alternate weeks. In the first semester of this course, we will explore the work of major poets writing in English between the French Revolution and the American Civil War. One of the goals of First-Year Studies: Difficult Womxn the course is to demonstrate the ways in which modern of the Americas poetry originated in this period. In the wake of the French Heather Cleary Revolution, Blake, Wordsworth and Coleridge invented a Open, FYS—Year | 10 credits new kind of poem that largely internalized the myths they Difficultomxn w go against the grain: They make noise. had inherited from literary and religious traditions. To put They make trouble. They challenge categories, it another way, the inner life of the poet became the preconceptions, and assigned roles and shine light where inescapable subject of their poetry. In the second some would rather not look. Through novels, films, and semester, we will trace the impact of their work on essays by thinkers and artists like Sor Juana Inés de la subsequent generations of poets writing in English. Our Cruz, Octavia Butler, Cristina Rivera Garza, Judith Butler, preeminent goal will be to appreciate each poet’s—indeed, Lucrecia Martel, Frida Kahlo, Sara Gómez, Margaret each poem’s—unique contribution to the language. Our Atwood, and Lia Garcia La Sirena, this course will explore understanding of literary and historical trends will emerge questions of gender, labor rights, race, borders, bodies, from the close, imaginative reading of texts. Authors will and environmental issues, among others. Students will include: Blake, Wordsworth, Coleridge, Shelley, Keats, learn how to analyze cultural objects and theory, to build Whitman, Dickinson, Tennyson, Robert Browning, arguments around plot elements or imagery, and to ground Christina Rossetti, Hardy, Frost, Yeats, and T. S. Eliot. their analysis effectively in social and cultural contexts. During the fall semester, students will meet with the The course will combine one-on-one conference work with instructor weekly for individual conferences. In the spring, group activities and exercises designed to introduce we will meet every other week. students to the resources available to them at the College, take advantage of New York City’s cultural offerings, and improve their writing skills through workshops. 86 Literature First-Year Studies: Fops, Coquettes, recrudesce in the unsavory precincts of Elizabethan and the Masquerade: Fashioning London, the polished court of Louis XIV, the beer halls of Weimar Berlin, and the neon “palaces” of Broadway? Gender and Courtship from Sometimes the genres themselves are challenged by Shakespeare to Austen experiments in new forms or by performances deliberately James Horowitz situated in unaccustomed places. By tinkering with what Open, FYS—Year | 10 credits audiences have come to expect or where they have come This section of FYS traces the representation of erotic, to assemble, do playwrights like Euripides, Brecht, and romantic, and conjugal relations on the page and stage Sarah Kane destabilize civilized norms? Grounding our from 1590 to 1820, a crucial period in the consolidation of work in Greek theatre, we will address such questions in a modern assumptions about gender, sexuality, and series of chronological investigations of the theatre marriage in the West. The emphasis will be on drama and produced in each city: Athens and London in the first prose fiction; but we will also sample a range of other semester; Paris, Berlin, and New York in the second. expressive forms, including lyric and narrative poetry, visual satire, and life-writing. Along the way, students will The Forms and Logic of Comedy be introduced to some of the most compelling figures in European literature—all of whom share an interest in the Fredric Smoler conventions of courtship and the performance of gender: Open, Small Lecture—Year | 10 credits | Remote John Milton, the foremost epic poet in the language (we Comedy is a startlingly various form, and it operates with a will read Paradise Lost in its entirety); Aphra Behn, variety of logics; it can be politically conservative or England’s first professional female author; bawdy comic starkly radical, savage or gentle, optimistic or despairing. playwrights like George Etherege and William Wycherley; In this course, we’ll explore some comic modes—from the innovative early novelists Eliza Haywood and Samuel philosophical comedy to modern film—and examine a few Richardson; the masterful verse satirist Alexander Pope; theories of comedy. A tentative reading list for the first the pioneering periodical writers Joseph Addison and semester includes a Platonic dialogue (the Protagoras) Richard Steele; the cross-dressing memoirist Charlotte and moves on to Aristophanes’ Old Comedy (The Clouds), Charke; and Mary Wollstonecraft, one of the founders of Plautus’ New Comedy, Roman satire, Shakespeare’s A modern feminism. Bracketing the yearlong course will be Midsummer Night's Dream, As You Like It, and Twelfth extended coverage of the two most influential authors of Night, Molière, some Restoration and later stage comedy, courtship narratives in English: William Shakespeare and and Fielding. In the second semester, we will read Byron, Jane Austen. Additional attention will be paid to earlier Stendhal, Dickens, Wilde, P. G. Wodehouse, Kingsley Amis, writers on sex and marriage, such as Ovid and St. Paul, as Joseph Heller, Philip Roth, and Tom Stoppard and also look well as to contemporary work in queer theory and gender at some cartoons and some film comedy. Both semesters’ studies. We will also consider select films that reflect the reading lists are subject to revision. legacy of early modern courtship narratives by directors such as Frank Capra and Hal Ashby. This course will The Animal necessarily include candid discussions of sensitive subject Kate Zambreno matter, including sexual violence. Open, Small Lecture—Year | 10 credits | Remote This yearlong lecture series will be an ecological and Theatre and the City historical meditation and interrogation on how we, as Joseph Lauinger humans, have looked at the nonhuman—the animal—and, Open, Large Lecture—Year | 10 credits as we wonder, how the animal has looked back at us. In the Athens, London, Paris, Berlin, New York...the history of fall, we will engage with the site of the zoo historically, Western theatre has always been associated with cities, including the origins of the medieval Wunderkammer and their politics, their customs, their geography, their its evolution into the zoological garden and natural history audiences. This course will track the story of theatre as it diorama, and into the contemporary zoo and online animal originates in the Athens of the fifth-century BCE and cam. We will consider these melancholy and ambivalent evolves into its different expressions and practices in psychic spaces with complex and violent histories through cities of later periods, all of them seen as "capitals" of narratives of captivity and freedom. In dialogue with John civilization. Does theatre civilize, or is it merely a reflection Berger’s essay, “Why Look at Animals?”—as well as of any given civilization whose cultural assumptions theories by Donna Haraway, Saidiya Hartman, Giorgio inform its values and shape its styles? Given that ancient Agamben, Jacques Derrida, and others—we will ask: Why Greek democracy gave birth to tragedy and comedy in civic are zoos so sad? Also, when we are there, are the animals praise of the god Dionysos—from a special coupling of the watching us in turn? When we are not there to visit them, worldly and the sacred—what happens when these genres do the animals actually miss us, as narratives during the pandemic have suggested? Besides readings from THE CURRICULUM 87 philosophy, political theory, affect theory, and cognitive will also be a focus of our discussions, from classical studies, we will discuss literature that stems from the site representations of animals as machines to the use of of the zoo and enclosed space: poems, essays, stories, and models like the burrow or territoriality imported from the novels by David Wojnarowicz, Lydia Davis, Rainer Maria animal realm by Deleuze and Guattari, to the possibility of Rilke, Thalia Field, Yoko Tawada, W. G. Sebald, Clarice shifting from a humanist understanding of nature Lispector, Judith Schalansky, Bhanu Kapil, and Helen inherited from European Renaissance, to new forms of Macdonald. We will also be thinking about films and ecocentric expression. These are some of the themes that photography that document looking at the animal by Chris we will cover in this lecture, with the goal of reading texts Marker, Peter Hujar, Hiroshi Sugimoto, Masahisa Fukase, of the past in order to better understand the complexities and others. In the spring, we will intensify our focus on of today’s discussions and debates about how to invent literatures and consciousness of the animal, thinking new forms of relating to the living environment around us. through the animal as subject, friend, and parable. We will discuss the strangeness of children’s books that are about Milton, Blake, and the Bible teaching animals to children, counterpointed by our alienation and longing toward the animals‘ inner lives. We William Shullenberger will engage with not only Alice in Wonderland but also Open, Small Lecture—Fall | 5 credits Kanai Mieko’s “Rabbits,” Franz Kafka and BoJack John Milton in the 17th century and William Blake in the Horseman, and the painter Paula Rego’s fairytales that late-18th and early-19th centuries forged fiercely conjure up Disney. We will read the novels Elizabeth independent poetics of visionary resistance to the trends Costello by J. M. Coetzee, The Friend by Sigrid Nunez, and toward intellectual materialism, religious conformity, Fever Dream by Samanta Schweblin. The entire year will economic mercantilism, and political authoritarianism be a bestiary, populated with polar bears, buffalo, crows, that dominated the England and Europe of their periods. panthers, cows, beluga whales, coyotes, cats, dogs, Both represented themselves as visionary teachers and elephants, horses, parrots, rabbits, bees, and large prophets in a line of prophetic succession that began with monkeys. By class time each Thursday, students will Moses and included Isaiah, Ezekiel, Jesus, and John, the submit weekly responses to the reading, as well as writer of the Apocalypse. They founded their prophetic questions for the weekly one-hour discussion each Friday. imaginations on what Blake called, “the sublime of the The final each semester will be a 12- to 18-page essay. Bible,” the great epic of human liberation and imaginative inspiration. This course will provide readings of central biblical narratives and poetry and examine how Milton and Studies in Ecocriticism: The Idea of Blake read, understood, and rewrote scripture in their Nature in the Western Tradition major poetic texts in their prophetic expectation of Eric Leveau changing the world and how we see it. Open, Small Lecture—Fall | 3 credits As the capitalistic and predatory model aggressively The Literature of Exile promoted by the United States continues to reveal itself as Roland Dollinger, Gillian Adler a major threat to biodiversity and the environment in Open, Small Lecture—Spring | 3 credits general, it is vital to understand the cultural and literary Human history has always been characterized by the history of the concept of “nature” that is at the core of the forced or voluntary migration of individuals or groups of Western and Judeo-Christian tradition while also putting people. In this lecture, we will analyze the dialectical that concept in the context of gender, race, and ethnicity in relationship between the concepts of “home” and “exile” America today. For example, comparing stories of world in a series of works ranging from the Bible and medieval creation from indigenous nations, with narratives taken poems to German literary texts of the 20th century, a from the Bible and from Greek and Roman classical texts, century whose upheavals led to different waves of will allow us to better grasp how language in the European voluntary or forced migration. Essays by Edward Said will tradition functions as a deep divider between humans and provide us with some critical vocabulary to speak and other living creatures. We will also follow the development write about the interconnectedness of notions of home, of the genre of the pastoral as an idealized construction of flight, diaspora, migrants, and refugees, while the primary nature that deeply influenced Europe from third-century works will invite us to analyze these themes in various BC to 19th-century English and American Romanticism. fictional and autobiographical forms. Our historical range We will try to better understand how the conception of will help us uncover the voices of those who were wilderness in America is in close relation to the presence displaced from their communities but also the modes of enslaved black bodies on its land. Going in a different through which many authors transformed the punitive direction, we will analyze how contemporary feminism and experience of exile into more empowering perspectives provide crucially important models to and positions of distance. We will begin with selected invent new ways for the West to relate to nature. Animals stories from the Old Testament (Pentateuch) and Old 88 Literature English exile poems, while later readings will include works specific category of personification allegory in which by Ovid, Dante, Goethe, and Herman Hesse. We will characters interact with personified concepts—such as conclude with Anna Segher’s novel about the dilemma of philosophy, love, time, truth, and reason—we will see how refugees being stuck in Marseille in 1942 and a story of this literary technique helped authors unveil, as well as four emigrants by the preeminent writer Sebald. Students complicate, the moral, political, romantic, social, and will earn three credits by taking this lecture, though spiritual questions of their time. While some of the German language students have the option of taking this assigned works are available in translation, students are course for five credits, in which case they will also attend expected to read Middle English texts in the original weekly group conferences. language.

Italian and Japanese Women Writers: Can This Republic Be Saved? A Dialogue Cautionary Evidence From Ancient Sayuri I. Oyama, Tristana Rorandelli Rome Open, Small Lecture—Spring | 5 credits Emily Anhalt This course will examine literature written by 20th- and Open, Seminar—Year | 10 credits 21st-century Italian and Japanese women writers. We will The democratic republic in the United States was modeled explore how their works address social issues related to on the Roman Republic, for good and ill, and has lasted just family, marriage, and women’s changing roles, as well as 234 years. Our democratic republic is now under siege, the place of women’s writing in Italian and Japanese both figuratively and literally, by forces threatening to literary canons. Our readings will include works by Sibilla replace it with a dictatorship or some form of authoritarian Aleramo, Grazia Deledda, Paola Masino, Ada Negri, Rosa populism. The ancient Roman Republic lasted 450 years Rosà, Anna Banti, Anna Maria Ortese, Elsa Morante, before imploding into a military dictatorship. The Roman Natalia Ginzburg, Dacia Maraini, and Elena Ferrante for experience shows that the introduction or reintroduction Italian literature; Higuchi Ichiyo, Ota Yoko, Hayashi Fumiko, of violence into the political process—even if the aim is Enchi Fumiko, Ariyoshi Sawako, Oba Minako, Yoshimoto social justice—absolutely precludes any possibility of Banana, Tsushima Yuko, Ogawa Yoko, Tawada Yoko, and equity or justice. Since the collapse of the Roman Oyamada Hiroko for Japanese literature. Primary sources Republic, history has shown repeatedly that political will range from fiction (novels, short stories, and fictional violence, if condoned and unchecked, inevitably produces diaries) to autobiographies, diaries, and plays not social justice but the atrocities and devastations of supplemented with secondary texts on women’s literature fascism or totalitarianism. This course will examine this and histories. In addition to the lectures, students will and other lessons from ancient Roman literature and attend weekly group conferences, and there will be group history that are vital for us today if we hope to survive and conference options for intermediate/advanced language thrive as individuals, as members of various communities, students (in Italian and Japanese, respectively) to focus and as a species. We will read (in English translation) and on developing language proficiency (e.g., by reading discuss selected works by Catullus, Cicero, Sallust, literary works in the original language, producing written Appian, Plutarch, Horace, Livy, Ovid, and Cassius Dio. compositions, and discussing works in Italian or Japanese). No previous background in Italian or Japanese language, literature, or history is required for this course. The Art of Indetermination: Eastern Praxis in Dialogue With Feminist and Allegory in the Middle Ages and the Postcolonial Thought Early Renaissance Una Chung Open, Large seminar—Year | 10 credits | Hybrid Remote/In- Gillian Adler Person Open, Seminar—Year | 10 credits This cultural-studies course offers the opportunity to Allegory was integral to the composition and study the nature of aesthetic experience within an Eastern interpretation of stories in the Middle Ages and the early philosophical framework. In particular, feminist, queer, Renaissance. As a narrative form, allegory implied the and postcolonial thinkers offer prescient points of cultural original sense of allegoresis, “speaking otherwise,” and translation for Taoist and Buddhist practices in the engaged readers with the literal and symbolic senses of a contemporary context, which this course posits is a world story. This course will examine a range of allegorical works shaped by globalization, social movements, visual culture, from the sixth century to the 16th century, including poetic and digital media. We will read paired samplings of texts in and prose narratives by William Langland, Boethius, contemporary critical theory and Eastern philosophy/ Guillaume de Lorris, Christine de Pizan, Dante, Petrarch, spirituality while assembling our own archive of sound, Mary Wroth, and Edmund Spenser. By examining the image, and text to explore in writing and conversation. THE CURRICULUM 89 Students are invited to inhabit the figure of the cultural time, examining assumptions about identity, its troubling critic in experimental ways by engaging diverse modes of reliance on social construction, and the mysteries of self- Eastern and Western praxes. The format of this course consciousness that elude resolution. The test will be to see balances short lectures, seminar-style discussions, small- how what we learn from them equips us—or fails to do group projects, and individual portfolios of writing and/or so—in a study of August Wilson, an African-American multisensorial media production. autodidact of the 20th century, whose plays represent the impact, both outrageous and insidious, of American Elective Affinities inon C temporary racism on “characters” denied identity by definition. Poetry Neil Arditi The Marriage Plot: Love and Sophomore and Above, Seminar—Year | 10 credits Romance in American and English The canonical status of contemporary literature is always Fiction up for grabs. In this seminar, we will spend roughly two- Nicolaus Mills thirds of the academic year reading a sequence of the Sophomore and Above, Seminar—Year | 10 credits | instructor’s favorite poets and those whose lives have Remote overlapped with his own: Elizabeth Bishop, May Swenson, “Reader, I married him. A quiet wedding we had,” Charlotte James Merrill, A. R. Ammons, John Ashbery, Jay Wright, Brontë’s title character exclaims in the concluding chapter Mark Strand, and Anne Carson, among them. The of Jane Eyre. Jane’s wedding may be quiet, but the steps coincidences of another reader’s taste and judgment leading up to her marriage with a man who once employed might generate a very different list of contemporaries; and her as a governess are tumultuous. With the publication of this, too, will be our subject. In conference, each student Jane Eyre, we have left behind the early marriage-plot will be asked to focus on a contemporary poet, or novel in which a series of comic misunderstandings pave sequence of poets, not included in the syllabus. From the the way for a joyous wedding. This course will begin with work of these poets, an ad hoc syllabus will be culled for such classic marriage-plot novels as Jane Austen’s Emma, the final sequence of class readings. As always, our George Eliot’s Middlemarch, Henry James’s Portrait of a preeminent goal will be to appreciate each poet’s—indeed, Lady, and Edith Wharton’s The House of Mirth. But the each poem’s—unique contribution to the language course will also look at love and courtship in untraditional through close, imaginative readings of texts. Previous marriage-plot novels such as Kate Chopin’s The experience with poetry is required. Awakening, Virginia Woolf’s Mrs. Dalloway, F. Scott Fitzgerald’s The Great Gatsby, and Zora Neale Hurston’s Toward a Theatre of Identity: Ibsen, Their Eyes Were Watching God. By the time the course Chekhov, and Wilson concludes with Jeffrey Eugenides’s contemporary novel, The Marriage Plot, the marriages and courtships we see Joseph Lauinger will be distinctly modern in the form that they take and, Sophomore and Above, Seminar—Year | 10 credits equally significant, in the complexity and uncertainty that Theatre emerges from social rituals; and as a communal they bring with them. exercise, theatre requires people to work together toward a common purpose in shared and demarcated physical space. Yet, the very notion of “character,” first expressed Reading Chaucer: Troilus and in the indelibly defining mask of the ancient Greek Criseyde and The Canterbury Tales protagonist, points paradoxically toward the spirit, Gillian Adler attraction, and trial of individuation. And so we have been Open, Seminar—Fall | 5 credits given Medea, Hamlet, and Tartuffe, among the many Chaucer’s Troilus and Criseyde and The Canterbury Tales dramatic characters whose unique faces we recognize and were two of the defining literary works of late medieval who speak to us not only of their own conflicts but also of England. In this course, we will read these works (in something universal and timeless. In the 19th century, Middle English) closely, exploring Chaucer’s complex however, the Industrial Revolution, aggressive capitalism, interlacing of medieval genres, forms, and traditions. imperialism, Darwinism, socialist revolution, feminism, the Studying Troilus and Criseyde and The Canterbury Tales new science of psychology, and the decline of religious will reveal the diverse preoccupations of medieval literary clarity about the nature of the human soul—all of these, culture: dreams and the imagination, sexuality and among other social factors—force the question as to , religious morality and clerical corruption, whether individual identity has point or meaning, even and the transcendent possibilities of love. Our examination existence. Henrik Ibsen, a fiercely “objective” Norwegian of some contemporary writings will help us consider how self-exile, and Anton Chekhov, an agnostic Russian doctor, used theatre—that most social of arts—to challenge their 90 Literature the historical developments of 14th-century London, such will read fiction, old and new, such as Untouchable (1935), as the changing class structure, influenced the social, The God of Small Things (1997), and A Life Apart (2016), economic, and political dimensions of Chaucer’s works. as well as watch movies ranging from indie films like Chitrangada (2012) to Bollywood rom-coms like Shubh Queer(ing) India: Literature, Film, Mangal Zyada Savdhan (2020). and Law Shoumik Bhattacharya Objects and Memory Open, Seminar—Fall | 5 credits Emily C. Bloom What is a queer perspective on culture and society? This Open, Small seminar—Fall | 3 credits course aims to provide an introductory survey to queer Why do we hold on to certain things and not others? Why narratives and cultural production from India and the do some objects have the power to evoke personal Indian diaspora as a way to think through this question. memories, while others leave us cold? Roland Barthes Texts will cover a large swath of time, from the early 20th described certain objects as having “punctum,” and Marie century to the present, and will range across genres such Kondo tells us that a select few “spark joy.” In this course, as speculative feminist fiction, political and cultural we will learn firsthand about the relationship between manifestos, postcolonial novels, and contemporary films. objects and memory from residents and staff ta the In 2018, the Supreme Court of India finally struck down Wartburg Nursing Home by developing a multimedia Section 377, a colonial-era law used to criminalize project called “A History of Wartburg in 100 Objects.” homosexuality and other “unnatural” sex acts, from the Students will work to pilot this project, partnering with Indian Penal Code after more than a decade of legal Wartburg to discover how objects can help unlock battles. The fight for legal rights was accompanied by memories. Working together, students in this course will growing queer representation in popular culture and create a bibliography of relevant texts on the topic of literature. The supposed “coming out” of queerness into objects and memory, produce an oral history of an object Indian social and cultural life in the last 10 years, the with a partner at Wartburg, and contribute to the demand to be seen and heard, has been critiqued by some infrastructure of the larger project. While developing the as a by-product of “Westernization” or the influence of project, we will read a selection of literary and theoretical “foreign-returned” elites inspired by the Euro-American works by Roland Barthes, Alice Walker, Virginia Woolf, and LGBTQ movement. This has brought with it the need to others in order to understand the role of objects in understand the diversity of queer India, as well as the preserving, accessing, and sharing memories. We will diaspora. In the case of the diaspora, we will work to de- meet once a week to discuss course readings, connect center the Euro-American diaspora, paying attention to with seniors and staff, and develop the multimedia project. long histories of migration to the African continent and The location of our meetings will alternate between our indentured labor in the Caribbean and the Pacific as sites classroom on campus and meetings at Wartburg in Mount for possible South-South solidarities. Taking seriously Vernon. This class will include a community-based questions of race, caste, class, nationality, and gender, we component working with an adult care community at will consider what a queer orientation to these hegemonic Wartburg. This is a three credit, non-conference seminar structures might be and what it might reveal. Thinking class. through the ways in which experiences of gender and sexuality were iterated and experienced across times and Join the Club: Conversation, spaces will help us think through the specifics of each text Criticism, and Celebrity in the British (and its contexts) while also following threads and connections beyond. By considering these questions, this Enlightenment course hopes to think through the contradictory realities James Horowitz of a moment in India during which major Bollywood Open, Seminar—Fall | 5 credits studios are producing gay dramas and even rom-coms, Before the 18th century was dubbed the Enlightenment, it while questions of sexuality, gender, class, caste, and was widely known as the Age of Criticism—a term that religious identity are being violently weaponized by mobs captures the growing cultural influence, most with seeming impunity granted by a Hindu-nationalist conspicuously in the anglophone world, of secular state. Students will engage with a diverse set of cultural, commentary on society, politics, morality, and the arts. political, and legal artifacts, such as the writings of Suddenly everyone was a critic, eager to express their “founding fathers” like Gandhi and BR Ambedkar—as well opinions in one of the many sites for conversation and as legal briefs opposing the punitive Transgender Persons debate that were blossoming across Britain and its (Protection of Rights) Act, 2019, which further colonies. Those sites included institutions with brick-and- stigmatizes non-normative gender identities by requiring mortar locations—coffeehouses, taverns, and private transgender people to register with the government. We clubs—but also the virtual forums created by the THE CURRICULUM 91 increasingly inescapable medium of print. (Parallels to our the Puritans. In Moby Dick, Ahab challenges the notion of a own social media-crazed era are easy to draw.) With the moral universe. In the narrative of his life, Frederick Age of Criticism came a new kind of celebrity: the public Douglass challenges the slave system. In Huckleberry Finn, intellectual. No man of letters was more renowned for his Huck defies the racism he was raised to believe in. In The powers of criticism, conversation, and what he called Portrait of a Lady, Isabel Archer ignores the assumption “clubbability” than Samuel Johnson (1709-84), the that she must marry well to be a success. In The House of gravitational center of our course. In addition to compiling Mirth, Lily Bart refuses to marry at all. In The Great the first English dictionary of note, Johnson was a gifted Gatsby, Gatsby challenges the prerogatives of old money and hugely influential literary theorist, poet, political and power. The questions we will wrestle with over the commentator, biographer, and satirist, as well as a course of the term is: What are we to make of the legendarily pithy maker of small talk and a master of the antagonism that mainstream, 19th-century American English sentence. His overbearing but strangely lovable literature exhibits toward social and political convention? personality was preserved for posterity by his friend and And does the antagonism speak to our better angels? disciple, James Boswell, who in 1791 published the greatest and most entertaining of all literary biographies, Crime, Punishment, and Freedom in The Life of Johnson, which records, among much else, Johnson’s near-blindness, probable Tourette’s Syndrome, African American Literature and selfless love of cats. Now, after the tercentenary of his Elias Rodriques birth, this seminar will reappraise Johnson’s legacy within Open, Seminar—Fall | 5 credits a broad cultural survey of the British Enlightenment. Along African American literature has been intertwined with with Johnson, Boswell, and other titans of 18th-century crime and punishment since at least the 17th century. One prose—such as Edward Gibbon, David Hume, and Adam of the earliest textual sources about American slavery, the Smith—we will consider international writing on race and John Punch case, is a tribunal transcript detailing the slavery (Olaudah Equiano, Ottobah Cugoano, the crime of a Black man and his punishment of slavery. In the abolitionist poets), the French and American revolutions following 200 years, the slave narrative as a genre came to (Edmund Burke), and women’s rights (the bluestocking cohere around the climactic crime of stealing the property circle, Mary Wollstonecraft). We will also sample the that is one’s self. After emancipation, African American period’s fiction (Horace Walpole’s lurid Gothic novel, The writers decried public portrayals of Black people as Castle of Otranto, and Frances Burney’s coming-of-age criminal in prison literature, lynching narratives, and more. saga, Evelina), comic drama (Oliver Goldsmith’s What, exactly, is the relationship between African uproarious She Stoops to Conquer), and personal writing American literature and crime? To answer this question, (Burney’s diary, Boswell’s shockingly candid London we will read African American literature chronologically, Journal), as well as Celtic literature (James Macpherson), written by authors like Frederick Douglass, Ida B. Wells, visual art (Joshua Reynolds), and the poetic innovations Langston Hughes, Richard Wright, Angela Davis, and Toni that laid the groundwork for Romanticism (Thomas Gray). Morrison. In so doing, we aim to better understand both We may also glance at Johnson’s reception and influence crime’s role in constituting African American literature over the centuries; for instance in the work of Virginia and African American literature’s portrait of crime. Short Woolf. assignments throughout the class (including critical and creative responses and short, close readings) aim to help us better understand the texts in the moments in which Classic American Literature: The 19th they were produced and to develop the skills necessary to Century and Its Rebels approach these texts critically. Nicolaus Mills Open, Seminar—Fall | 5 credits | Remote Literature in Translation: 20th- Nineteenth-century American literature is made up of a small number of iconic prose texts. The ones most often Century Italian Literature and put in this category are Nathaniel Hawthorne’s The Scarlet Culture Letter, Herman Melville’s Moby Dick, Frederick Douglass’s Tristana Rorandelli Narrative of the Life of Frederick Douglass, Mark Twain’s Open, Seminar—Fall | 5 credits Huckleberry Finn, and Henry James’s The Portrait of a The course will explore 20th-century Italian literature, Lady. This course will focus on these five books and then focusing on important intellectuals, works, and conclude with a glimpse into two 20th-century novels, movements that helped shape it and their connection with Edith Wharton’s The House of Mirth and F. Scott the arts, cinema, and society at large. Italy had become a Fitzgerald’s The Great Gatsby. What links these texts is the unified nation by 1860, and its literature addressed issues rebellion of their central figures. In The Scarlet Letter, such as (national and personal) identity, tradition, Hester Prynne defies the sexual and theological mores of innovation and modernity, the role of literature and of the 92 Literature writer, and the changing role of women in Italian society. “literary” forms, register all of the pressures and conflicts We will explore the interrelation between Italian literature of late colonial and postcolonial history. To discern the and crucial historical events—such as the Great War, the traditionalist sources of modern African writing, we will rise and fall of fascism, World War II, the Resistance, the first read examples from epic, folk tale, and other forms of birth of the Republic, the postwar economic boom, the orature. Major fiction will be selected from the work of students’ and women’s movements of the 1960s and ’70s, Tutuola, Achebe, Beti, Sembene, Ba, Head, Ngugi, La the terrorism of the “Anni di Piombo”—until the recent Guma, Dangaremgba, and Sarowiwa; drama from the work contribution of migration literature to the Italian literary of Soyinka and Aidoo; poetry from the work of Senghor, canon. Among the authors and intellectuals, we will Rabearivelo, Okigbo, Okot p’Bitek, Brutus, Mapanje, and explore Sibilla Aleramo for her literary treatment of the others. Conference work may include further, deeper work issue of female emancipation at the beginning of the on the writings, writers, and genres that we study together century; Luigi Pirandello and his work as a novelist and in class; aspects of literary theory, particularly aspects of playwright; Gabriele D’Annunzio as a poet, playwright, and postcolonial and womanist theory relevant to readings of novelist but also a war hero and politician; F. T. Marinetti, African literature; or readings of more recent writers out of whose futurist manifestos and literary works reflected his Africa whose work draws on and develops the “classical” desire to renew Italian art, literature, and culture in works that will be the foundation of our work together. general; B. Mussolini’s fascist regime, its dictates, and their influence on propaganda literature and cinema; History Plays Ignazio Silone’s novels on the fascist era; Roberto Rossellini’s neorealist cinema; Italo Calvino’s, Beppe Fredric Smoler Fenoglio’s, and Elio Vittorini’s literature of the Resistance; Open, Seminar—Fall | 5 credits | Remote Primo Levi’s depiction of The Holocaust; and women Some of the greatest dramatic literature is set in an era writers such as Anna Banti, Natalia Ginzburg, Elsa preceding its composition. This is always true of a form of Morante, and Dacia Maraini. Readings will be dramatic literature that we usually call by a different name supplemented by secondary source material that will help (Plato’s dialogues). It is also true of some of the most outline the social, historical, and political context in which celebrated drama, plays that we identify with the core of these authors lived and wrote, as well as provide a relevant the Western theatrical tradition; for example, much of critical framework for the study of their works. On Greek tragedy. And it is very famously true of some of the occasion, we will watch films that are relevant to the greatest work by Shakespeare, Schiller, and Corneille. topics and period in question. No previous knowledge of Some of the best contemporary playwrights also set some Italian is required. Students proficient in Italian may opt to of their work in the past: Tom Stoppard’s Travesties, read sources in the original language and write their Arcadia, The Invention of Love, and The Coast of Utopia are conference projects in Italian. Conference topics may all, in one or another sense, history plays. Setting a play in include the study of a particular author, literary text, or the past can create and exploit dramatic irony—the topic relevant to the course and that might be of interest audience knows the history to come, the protagonists to the student. usually cannot—but there is no single reason for setting a play in the past. For some playwrights, history provided the grandest kind of spectacle, a site of splendid and terrible Conscience of the Nations: Classics (hence, dramatic) events. Their treatment of the past may of African Literature not depict it as radically discontinuous with the present or William Shullenberger necessarily different in kind. Other playwrights may make Open, Seminar—Fall | 5 credits the past setting little more than an allegory of the present; One way to think of literature is as the conscience of a Shaw’s Caesar and Cleopatra (1898) seems to be a people, reflecting on their origins, their values, their losses, celebration of Victorian liberal imperialism. The playwright and their possibilities. This course will study major may set work in the past as part of an urgent analysis of representative texts in which sub-Saharan African writers the origins of his own situation; Michael Frayn’s have taken up the challenge of cultural formation and fascinating play, Benefactors, was written in 1984 but set criticism. Part of what gives the best writing of modern in the late 1960s and attempted to locate the causes of the Africa its aesthetic power is the political urgency of its then-recent collapse of political liberalism, seeking in task: The past still bears on the present, the future is yet to history an answer that could be found only there. But be written, and what writers have to say matters enough another of Frayn’s plays with a historical setting, for their work to be considered dangerous. Political issues Copenhagen, does not necessarily focus on something and aesthetic issues are, thus, inseparable in their work. irretrievably past; its interests may rather be concentrated Creative tensions in the writing between indigenous on a living problem of undiminished urgency. Peter Weiss’s languages and European languages, between traditional Marat/Sade, arguably the most successful work of 1960s forms of orature and storytelling and self-consciously political theatre, was a history play focused on what then THE CURRICULUM 93 seemed the explicit and unbreakable link between late better understand Black by reading it in 18th-century politics and the politics of the present. A play the context of the Cold War? This course aims to answer by Alan Bennett, The History Boys, sought to illuminate this question first by reading proto-Black-feminist authors something about the political present by examining a writing in the early Cold War and then returning to the changing fashion in the teaching of history. In this course, famous authors of Black feminism to consider their we will read a number of works of dramatic literature—all portrait of international affairs. Authors may include Ann of them, in one sense or another, history plays written for Petry, Gwendolyn Brooks, Lorraine Hansberry, Pat Parker, various purposes and of generally very high quality. We Audre Lorde, Toni Morrison, Angela Davis, and others. may or may not discover anything common to all history Along the way, we will read recent scholarship to plays, but we will read some good books. understand the historical context in which those texts were written. In so doing, we aim to better understand the Reality, Representation, and Cold War’s effect on Black feminism and what those canonical texts of Black feminism can tell us about Everyday Life American foreign policy. Short assignments may include Sonia Werner brief historical essays, short close readings, and response Open, Seminar—Fall | 5 credits papers. At a moment when popular culture is obsessed with reality television and new technology generates “real-time” access to current events, this course examines the Middle English concept of reality in literature, philosophy, and film. What Gillian Adler is the relationship between language and reality? How do Open, Seminar—Spring | 2 credits different literary genres and media represent the world This course will introduce students to Middle English (c. around us? How do textual and visual representations 1100–c. 1500) and to various Middle English literary mediate our understanding of the “true” and the “real?” works. We will study the vocabulary, grammar, We will begin the course by examining key philosophical pronunciation, and dialectical variations of the language. works by Plato, G. H. Hegel, and Karl Marx. We will To understand the rise of vernacularity in England, we will consider the emergence of realism in the 19th century and also consider linguistic change against the backdrop of assess how writers like Nikolai Gogol, Herman Melville, social, political, cultural, and intellectual events—from the and Charles Baudelaire engaged questions related to Norman Conquest to the arrival of the printing press. industrialization and the experience of urban life. We will Readings will include popular and courtly romances, the then bring these works into conversation with more saints’ lives that sometimes circulated alongside such contemporary literary works associated with disparate romances in manuscripts, and Middle English translations aesthetic movements—such as surrealism, modernism, of the Bible. This seminar will not include conferences. and magical realism—by authors like Aimé Césaire, André Breton, Virginia Woolf, Alejo Carpentier, and Teju Cole. We Global Queer Literature: Dystopias will probe deeply into the category of the “everyday” to and Hope explore questions relating to race, gender, and sexuality. Lastly, we will consider the force of the photographic Shoumik Bhattacharya image and assess its relationship to evidence and truth in Open, Seminar—Spring | 5 credits the context of the 19th century, as well as in our own In this seminar, we will study queer texts and films, contemporary moment. Other authors include, but are not considering their particular articulations of queer life and limited to, Roman Jakobson, Georg Lukács, Henri Lefebvre, its possibilities. Texts will cover a large swath of time, from Frantz Fanon, bell hooks, Susan Sontag, Roland Barthes, the early 20th century until the present, and will range Sara Ahmad, and Claudia Rankine. across genres such as speculative feminist fiction, first nations narratives, postcolonial novels, and contemporary Bollywood films. We will end the course by looking at Cold War Black Feminism science fiction that explores life in spaces that some Elias Rodriques consider dystopian futures but are already becoming the Sophomore and Above, Seminar—Fall | 5 credits present for many. As this arc indicates, an underlying When Black feminist writing boomed in the 1970s, the theme of the course will be the maintaining of the United States was squarely in the middle of the Cold War. creativity and vitality of everyday life while drowning in Accordingly, Audre Lorde decried the United States literal and discursive trash. Across the globe, queer lives invasion of Grenada, June Jordan railed against the have already been lived in materially and discursively toxic Vietnam War, and Assata Shakur penned her contexts. Engaging with text and films produced across autobiography in asylum in Cuba. Yet, Black feminism has the world—set in places such as South Africa, India, primarily been considered a domestic affair. How might we Argentina, and even galaxies yet undiscovered—we will 94 Literature think through the lessons that the creation of a queer life students are encouraged to imagine the future of care illuminate for us. Queer life within the context of this work in a changing society. As part of this course, you will seminar refers to the multifarious ways in which partner with a senior at Wartburg to complete an oral marginalized and non-normative bodies and peoples history, podcast, and catalogue entry for a digital create social and political lives. Carefully considering the exhibition. This is a five-credit seminar that includes a contexts and possibilities that the characters encounter, community-based component working with an adult care we will explore how queer is a term that translates and community at Wartburg. mutates in interesting ways across time and place. In paying attention to the specificities of the texts, queer Hitchcock in 2022 Vision: The Long itself is thus a term that we will reckon with. Taking seriously questions of race, class, nationality, and gender, Shadow of Gothic Style we will consider what a queer orientation to those James Horowitz hegemonic structures produces or reveals, not only in past Open, Large seminar—Spring | 5 credits literary texts but also as a way of imagining a hopeful Our present decade, with its global ambience of future. As we encounter air and water that is more claustrophobia and dread, is on its way to becoming the polluted, toxic even, than at any time in which homo most Hitchcockian on record. More than 40 years after his sapiens have walked the Earth, the only response may death, prolific British and American filmmaker Alfred seem to be pessimism. Rejecting pessimism, we will ask Hitchcock (1899-1980) remains one of the world’s most what queer futures and hope we can imagine at a moment recognizable, most imitated, most studied, most parodied, of planetary crisis. Potential texts: Sultana’s Dream, and most divisive entertainers in the history of media. Rokeya Sakhawat Hussain (1905); Lihaaf, Ismat Chugtai Known during his heyday in Hollywood as the “master of (1942); The House of Hunger, Dambudzo Marechera suspense,” Hitchcock developed a distinctive visual and (1978); The Buddha of Suburbia, Hanif Kureishi (1990); narrative style that became synonymous with a set of Disgrace, J. M. Coetzee (1999); Bloodchild, Octavia Butler unnerving affects and experiences (paranoia, guilt, abject (1994); Animal’s People, Indra Sinha (2007); Moxyland, terror, mistaken identity, transgressive desire, watching, Lauren Beukes (2008); The Ministry of Utmost Happiness, and being watched), as well as with the director’s own Arundhati Roy (2017); Happy Together (film, 1997); personality—made famous through his iconic cameos on Margarita With a Straw (film, 2014); and Pumzi (film, film and television, where he appeared as a droll and 2009). dapper provocateur. At the same time as Hitchcock became a shaping influence on several generations of filmmakers, including several who repudiated that Care Work influence, and the basis for scores of biopics and spinoffs Emily C. Bloom (Bates Motel is one recent example), he has attracted Open, Seminar—Spring | 5 credits intense interest from a diverse range of What kind of work is care work? Is it a form of labor? Of scholars—including historians of popular culture and love? Is caretaking a social or individual responsibility? specialists in queer theory, gender studies, narratology, And who pays for it? This course questions the role of and psychoanalysis—in some cases through work that has caretaking in modern societies through a range of literary defined its disciplinary field and introduced analytic and sociological texts. We begin with the premise that concepts, such as the “,” into the mainstream. caretaking is both fundamental to a functioning society Now, even as well-substantiated accusations of sexual and also grossly devalued. This devaluation is marked by misconduct against Hitchcock by the actor Tippi Hedren the poor pay associated with caretaking professions, as have encouraged debates over his legacy, the fascination well as the gendering and racializing of caretaking he exerts over his worldwide audience has seemingly only responsibilities. This course will draw on recent writing in deepened. Neither a celebration nor an exposé, this large disability studies, gender studies, political theory, and seminar turns a critical eye toward several of Hitchcock’s ethnic studies, as well as literary works such as Kazuo major works from both his British and American periods, Ishiguro’s Never Let Me Go and Marilynne Robinson’s including landmark achievements such as Blackmail, Housekeeping, to consider the experience of both the Rope, Rear Window, and The Birds. We will approach these individuals performing care work and those who require films both as singular cultural artifacts and as parts of the their care. We will discuss terms like self-care and long and still robust tradition of uncanny storytelling that prenatal care that have become commonplace but that we we call Gothic, which we will trace from its origins in the often encounter as marketing concepts that have been British Enlightenment to its later incarnations on both stripped of their origins. This course aims to situate the sides of the Atlantic in the work of authors such as Edgar concept of caring into historical, political, and aesthetic Allen Poe (a favorite of Hitchcock’s), Henry James, contexts. Reading work by Audre Lorde, Leah Lakshmi Daphne Du Maurier, and Shirley Jackson and through its Piepzna-Samarasinha, Silvia Federici, and others, elucidation by theorists from Freud to Toni Morrison. We THE CURRICULUM 95 will end by considering a few key figures in contemporary this is beginning to change. In the early 1990s, Cambridge cinema—such as Jordan Peele, Pedro Almódovar, and University Press and Princeton both published Bong-Joon Ho—who have engaged in complex dialogue intellectually rigorous books on alternate history and with Hitchcock’s films and have helped to guarantee, for counterfactual analysis in the social sciences; more better or worse, that his stylistic fingerprints will remain recently, Cambridge published a volume analyzing evident across the culture of the coming century. alternate histories of the World War II; and, in 2006, the University of Michigan Press published an interesting African American Poetry After collection of counterfactual analyses titled, Unmaking the West. This course will examine a number of fictions of Emancipation alternate history, some reputable and some less reputable, Elias Rodriques and may also look at some of the academic work noted Open, Seminar—Spring | 5 credits above. We shall attempt to understand what it might mean The sharp rise in African American literacy during to think seriously about counterfactuals; about why Reconstruction gave rise to an increase in African fictions of, and academic works on, alternate history have American textual production and, especially, poetry. How become significantly more widespread; and about what did African American poetry respond to the conditions of makes an alternate history aesthetically satisfying and emancipation and seek to exceed those conditions? This intellectually suggestive rather than ham-fisted, flat, and course aims to answer this question by taking the long profoundly unpersuasive. view of African American poetry, beginning with Reconstruction and Nadir-era poets like Paul Laurence Dunbar and Charlotte Grimke. We will then follow their Ralph Ellison’s Invisible Man in influence upon Harlem Renaissance poets like Langston Context Hughes and Jessie Redmon Fauset, Black arts and Black Elias Rodriques feminist poets like Gwendolyn Brooks and Amiri Baraka, Sophomore and Above, Seminar—Spring | 5 credits and 21st-century poets like Terrance Hayes, Danez Smith, Since the publication of Ralph Ellison’s Invisible Man in and Eve Ewing. This course aims to introduce students to 1951, scholars and artists have asked the book to speak to the broad array of postemancipation poetry, so we will each moment in American history. Even today, the novel read across a variety of poetic forms in historical context. resonates with our most salient political problems: police In so doing, we aim to better understand African American violence, cross-racial activism, and so on. Yet, from its poetry, its relationship to history, and the ways in which portrait of the Communist Party to its depiction of the poetry aims to describe Blackness as exceeding the 1943 Harlem Riot, Ellison’s novel told a historically specific juridical category of emancipation. Short assignments will tale. How and why has this novel transcended time and include poetry recitation, pastiche, close readings, space? To answer this question, this class will first read descriptions of form, and more. Ellison’s sources: Fyodor Dostoevsky, Richard Wright, W. E. B. Du Bois, and others. Then we will study Ellison’s early The Music of What Happens: work and that of his contemporaries, such as novelist Ann Petry, musician Louis Armstrong, and the painter Romare Alternate Histories and Bearden. Then we will read Invisible Man slowly, carefully, Counterfactuals and closely. From there, we will read academic works and Fredric Smoler artistic responses by scholars like Fred Moten and poets Open, Seminar—Spring | 5 credits | Remote like Terrance Hayes. In so doing, we aim to better The alternate history—which imagines a different present understand the changing meanings of Ellison’s novel, its or future originating in a point of divergence from our importance to American history, and the evolution of actual history, a branching point in the past—is both an Africana studies as a discipline. Along the way, our increasingly popular form of genre fiction and a creative and critical assignments will better acquaint us decreasingly disreputable form of analysis in history and with the various research methods and writing styles of the social sciences. While fictions of alternate history literary criticism. were, until very recently, only a subgenre of science fiction, celebrated “literary” novelists (among others, Philip Roth, Courses offered in related disciplines this year are listed Michael Chabon, and Colson Whithead) have written below. Full descriptions of the courses may be found under within the last decade and a half well-regarded novels of the appropriate disciplines. alternate history (The Plot Against America, The Yiddish Policeman’s Union, and The Underground Railroad). Sursum Corda: Art and Architecture from Michelangelo to Similarly, while counterfactual historical speculation is at the Dawn of the Enlightenment, 1550-1700 (p. 13), least as old as Livy, academic historians have until Joseph C. Forte Art History recently scorned the practice as a vulgar parlor game; but 96 Literature Chinese Literature, Folktales, and Popular Culture (p. 16), Women Philosophers in the 20th and 21st Ellen Neskar Asian Studies Centuries (p. 113), Roy Ben-Shai Philosophy Queer(ing) India: Literature, Film, and Law (p. 17), Shoumik Being and Time (p. 115), Roy Ben-Shai Philosophy Bhattacharya Asian Studies First-Year Studies: The Senses: Art and Science (p. 125), Japan’s Heisei Era (1989–2019): Culture, Society, and Elizabeth Johnston Psychology Experiences (p. 17), Jesse Bia Asian Studies Theories of the Creative Process (p. 131), Charlotte L. Doyle Global Queer Literature: Dystopias and Hope (p. 18), Psychology Shoumik Bhattacharya Asian Studies Storytelling and Spirituality in Classical Islam (p. 138), The Environmental Imagination: Perspectives From the Kristin Zahra Sands Religion Social Sciences, Environmental Humanities, and the Beginning Russian (p. 140), Melissa Frazier Russian Arts (p. 42), Charles Zerner Environmental Studies Intermediate Russian (p. 141), Natalia Dizenko Russian Worldbuilding (p. 49), Peter Burr Filmmaking and Moving Lineages of Utopia (p. 144), Shahnaz Rouse Sociology Image Arts Beginning Spanish: A Glimpse Into the Hispanic World Intermediate French I (Section II): Scène(s) de through its Language and Culture (p. 146), Ximena littérature (p. 58), Ellen Di Giovanni French Venturini Spanish Intermediate French II: The Writing of Everyday Life in Advanced Beginning Spanish: Forms of Culture in the 20th-Century French Literature (p. 58), Jason Earle Information Age (p. 146), Eduardo Lago Spanish French Intermediate Spanish I: Latin American and Spanish Visual Intermediate French III: Soil, Nature, and Culture in Culture (p. 146), Ximena Venturini Spanish Contemporary France (p. 59), Eric Leveau French Advanced Intermediate Spanish: Political Advanced German: The Literature of Exile (p. 64), Roland Creativity (p. 146), Heather Cleary Spanish Dollinger German Literatures From the Spanish-Speaking World: Poetry and Beginning Greek (p. 65), Emily Anhalt Greek (Ancient) the Short Story (p. 147), Eduardo Lago Spanish First-Year Studies: Literature, Culture, and Politics in US Literatures From the Spanish-Speaking World: The History (p. 67), Lyde Cullen Sizer History Novella (p. 147), Eduardo Lago Spanish Becoming Modern: Europe From 1760 to 1914 (p. 68), Philip First-Year Studies: History and Histrionics: A Survey of Swoboda History Western Drama (p. 149), Stuart Spencer Theatre Winds of Doctrine: Europe in the Age of the Black-and-White Darkroom: An Immersion (p. 171), Sophie Reformation (p. 69), Philip Swoboda History Barbasch Visual and Studio Arts Social Protest and Cultural Critique: A Cultural and Senior Interdisciplinary Studio (p. 171), John O’Connor, Intellectual History of the United States (p. 70), Lyde Riad Miah Visual and Studio Arts Cullen Sizer History First-Year Studies: Two Lenses on Writing (p. 174), Myra Theories at Heart (p. 70), Antonia Carcelén-Estrada Goldberg Writing History First-Year Studies: Fiction: A User’s Guide (p. 174), David Reconstructing Womanhood I: Writers and Activists in the Hollander Writing United States, 1830–1930 (p. 73), Lyde Cullen Sizer First-Year Studies: Poetic Form/Forming Poetry (p. 175), History Matthea Harvey Writing Reconstructing Womanhood II: Writers and Activists in the Near to Life: The Art of the Short Story (p. 175), Brian United States, 1930–1990 (p. 76), Lyde Cullen Sizer Morton Writing History Writing Colloquium (p. 176) Writing Beginning Italian: Viaggio in Italia (p. 80), Tristana Writing and Reading Fiction (p. 176), Brian Morton Writing Rorandelli Italian The Rules—and How to Break them: A Prose Process Intermediate Italian: Modern Italian Culture and Class (p. 178), Nelly Reifler Writing Literature (p. 80), Tristana Rorandelli Italian The Unconscious, the Absurd, the Sublime, and the Intermediate Latin (p. 82), Emily Anhalt Latin Impossibly Probable (p. 179), Mary LaChapelle Queer Americans: Henry James, Gertrude Stein, Willa Writing Cather, and James Baldwin (p. 83), Julie Abraham The Basics, Not Excluding the Virtuosic (p. 177), Mary Lesbian, Gay, Bisexual, and Transgender Studies LaChapelle Writing Pretty, Witty, and Gay (p. 84), Julie Abraham Lesbian, Gay, Fiction Writing Workshop (p. 176), Mary LaChapelle Bisexual, and Transgender Studies Writing Mathematics and Jorge Luis Borges (p. 97), Daniel King Fiction Workshop: The Short Story (p. 176), Rattawut Mathematics Lapcharoensap Writing The Philosophy of Music (p. 102), Martin Goldray Music Fiction Workshop: Portraiture (p. 177), Rattawut The Music of Russia (p. 103), Martin Goldray Music Lapcharoensap Writing Words and Music (p. 102), Carsten Schmidt Music Nonfiction Workshop: Writing the Essay of Opinion (p. 181), Existentialism (p. 113), Roy Ben-Shai Philosophy Brian Morton Writing THE CURRICULUM 97 Nonfiction Workshop: Cultural Criticism (p. 179), Cynthia insight into diverse areas of human interest. The use, Cruz Writing misuse, and abuse of statistics will be the central focus of Experiments With Truth: Nonfiction Writing From the the course; and specific topics of exploration will be drawn Edges (p. 181), Vijay Seshadri Writing from experimental design theory, sampling theory, data Nonfiction Laboratory (p. 181), Stephen O’Connor Writing analysis, and statistical inference. Applications will be A Question of Character: The Art of the Profile (p. 182), considered in current events, business, psychology, Alice Truax Writing politics, medicine, and other areas of the natural and Writing Our Moment (p. 179), Marek Fuchs Writing social sciences. Statistical (spreadsheet) software will be Poetry: On and Off the aP ge (p. 183), Jeffrey McDaniel introduced and used extensively in this course, but no Writing prior experience with the technology is assumed. Group Hybrids of Poetry and Prose: A Multigenre Creative Writing conferences, conducted in workshop mode, will serve to Workshop (p. 182), Jeffrey McDaniel Writing reinforce student understanding of the course material. Reading and Writing Poetry: A Workshop (p. 182), Jeffrey This lecture is recommended for anybody wishing to be a McDaniel Writing better-informed consumer of data and strongly Explorations in the Poetic Voice (p. 183), Dennis Nurkse recommended for those planning to pursue advanced Writing undergraduate or graduate research in the natural Ecopoetry (p. 182), Marie Howe Writing sciences or social sciences. Mathematical prerequisite: To Hold the Unsayable: A Poetry Workshop (p. 183), Marie basic high school algebra and plane coordinate geometry Howe Writing MATHEMATICS Mathematics and Jorge Luis Borges Daniel King Whether they had any interest in mathematics in high Open, Seminar—Fall | 5 credits school, students often discover a new appreciation for the The works of Jorge Luis Borges, the highly influential field at Sarah Lawrence College. In our courses—which 20th-century Argentine writer, feature imaginatively reveal the inherent elegance of mathematics as a intelligent and deeply provocative use of mathematical reflection of the world and how it works—abstract ideas and imagery. Borges’s writings—primarily short concepts literally come to life. That vitality further stories, essays, and poetry—describe fictitious worlds that emerges as faculty members adapt course content to fit warp standard notions of time, space, and existence and student needs, emphasizing the historical context and reveal the unavoidable friction between competing notions philosophical underpinnings behind ideas and theories. at the heart of modern mathematics: the infinite versus By practicing rigorous logic, creative problem- the finite versus the infinitesimal (set theory); the discrete solving, and abstract thought in small seminar versus the continuous (calculus); the reasonable versus discussions, students cultivate habits of mind that they the paradoxical (logic); the Euclidean versus the can apply to every interest. With well-developed, rational otherworldly (geometry); the symmetric versus the thinking and problem-solving skills, many students distorted (fractals, chaos); the convergent versus the continue their studies in mathematics, computer science, divergent (limits, series); the improbable versus the philosophy, medicine, law, or business; others go into a impossible (combinatorics, probability). In short, this range of careers in fields such as insurance, technology, seminar will explore various fundamental and foundational defense, and industry. topics in mathematics from a Borgesian perspective. Student conference projects for this seminar may focus An Introduction to Statistical upon the mathematical themes in the works of other writers or explore any mathematically-themed subject. Methods and Analysis This course is intended for students who have not Daniel King completed any college-level mathematical study to date. Open, Lecture—Spring | 5 credits | Hybrid Remote/In- Person Variance, correlation coefficient, regression analysis, Pattern statistical significance, and margin of error...you’ve heard Philip Ording these terms and other statistical phrases bantered about Open, Seminar—Fall | 5 credits before, and you’ve seen them interspersed in news reports This seminar will study patterns in nature and design from and research articles. But what do they mean? And why the mathematical point of view. Examples will be primarily are they so important? Serving as an introduction to the visual, including beadwork, braids, tilings, trees, waves, concepts, techniques, and reasoning central to the and crystals, among others. The workshop format of the understanding of data, this lecture course focuses on the class will give students the opportunity to discover, fundamental methods of statistical analysis used to gain collaboratively, the structures that govern patterns. Students can expect to use both visual and logical 98 Mathematics reasoning to answer open-ended problems that involve differentiation and integration (see Calculus I course hands-on experimentation and creative problem-solving. description). Topics to be explored in this course include By the end of the semester, students will know how to the calculus of exponential and logarithmic functions, reproduce a given pattern in one, two, or three dimensions; applications of integration theory to geometry, alternative how to identify its symmetries; and how to compare it to coordinate systems, infinite series, and power series related structures. For conference, there is a possibility of representations of functions. For conference work, service-learning placements in community-based students may choose to undertake a deeper investigation organizations, depending on availability. No particular of a single topic or application of the calculus or conduct a math background is required. This course is recommended study of some other mathematically-related topic. This for any students interested in mathematics as the science seminar is intended for students interested in advanced of patterns and strongly recommended for those studying study in mathematics or science, for those preparing for education. careers in the health sciences or engineering, or for any simply wishing to broaden and enrich the life of the mind. Calculus I: The Study of Motion and Prerequisite: One year of high-school calculus or one semester of college-level calculus. Students concerned Change about meeting the course prerequisites are encouraged to Philip Ording, Erin Carmody contact the instructor as soon as possible. Open, Seminar—Fall and Spring | 5 credits Our existence lies in a perpetual state of change. An apple falls from a tree; clouds move across expansive farmland, Multivariable Mathematics: Linear blocking out the sun for days; meanwhile, satellites zip Algebra, Vector Calculus, and around the Earth, transmitting and receiving signals to our Differential Equations cell phones. The calculus was invented to develop a Daniel King language to accurately describe and study the change that Intermediate, Seminar—Year | 10 credits we see. The ancient Greeks began a detailed study of Rarely is a quantity of interest—tomorrow’s temperature, change but were scared to wrestle with the infinite; so it unemployment rates across Europe, the cost of a spring- was not until the 17th century that Isaac Newton and break flight to Fort Lauderdale—a simple function of just Gottfried Leibniz, among others, tamed the infinite and one primary variable. Reality, for better or worse, is gave birth to this extremely successful branch of mathematically multivariable. This course introduces an mathematics. Though just a few hundred years old, the array of topics and tools used in the mathematical analysis calculus has become an indispensable research tool in of multivariable functions. The intertwined theories of both the natural and social sciences. Our study begins vectors, matrices, and differential equations and their with the central concept of the limit and proceeds to applications will be the central themes of exploration in explore the dual topics of differentiation and integration. this yearlong course. Specific topics to be covered include Numerous applications of the theory will be examined. For the algebra and geometry of vectors in two, three, and conference work, students may choose to undertake a higher dimensions; dot and cross products and their deeper investigation of a single topic or application of the applications; equations of lines and planes in higher calculus or conduct a study in some other branch of dimensions; solutions to systems of linear equations, mathematics. This seminar is intended for students using Gaussian elimination, theory and applications of interested in advanced study in mathematics or science, determinants, inverses and eigenvectors, volumes of students preparing for careers in the health sciences or three-dimensional solids via integration, spherical and engineering, and any student wishing to broaden and cylindrical coordinate systems, and methods of visualizing enrich the life of the mind. Prerequisites: Successful and constructing solutions to differential equations of completion of study in trigonometry and pre-calculus various types. Conference work will involve an topics. Students concerned about meeting the course investigation of some mathematically-themed subject of prerequisites are encouraged to contact the instructor as the student’s choosing. Prerequisites: Successful soon as possible. Fall instructor, Erin Carmody; Philip completion of Calculus II or its equivalent; a score of 4 or 5 Ording in the spring. on the Calculus BC Advanced Placement Exam

Calculus II: Further Study of Motion Mathematics in Theory and Practice: and Change Real Analysis and Topology Erin Carmody Philip Ording Open, Seminar—Spring | 5 credits Intermediate, Seminar—Year | 10 credits This course continues the thread of mathematical inquiry, The calculus of Newton and Leibniz was so successful that following an initial study of the dual topics of science forgave the logical shortcomings of its “fluxions” THE CURRICULUM 99 and “evanescent quantities.” In the 19th century, however, MIDDLE EASTERN AND ISLAMIC calculus evolved into the study of functions of a real variable—real analysis—which is a model of the STUDIES foundational rigor that has come to define mathematics as a discipline. In the 20th century, the search for axioms of Classes from disciplines such as art history, economics, the real numbers uncovered subtle assumptions about geography, history, politics, religion, and sociology spatial properties of the real line. These properties—such comprise the classes available within this cross- as continuity, separability, and dimension—do not depend disciplinary path. on magnitude but on more general notions of position. The Courses offered in related disciplines this year are listed geometry of position, or topology as it is called today, is below. Full descriptions of the courses may be found under the study of exactly such properties. This yearlong the appropriate disciplines. seminar will begin with preliminaries of discrete mathematics, including symbolic logic, proof technique, Ethnographic Research and Writing (p. 7), Robert R. and set theory. We will study these topics in the context of Desjarlais Anthropology networks and surfaces, which are some of the most East vs. West: Europe, the Mediterranean, and Western intuitive topological objects. This will be followed by an in- Asia From Antiquity to the Modern Age (p. 12), David depth study of the real numbers, sequences and series, Castriota Art History limits, continuity, the derivative, and the integral. To Global Modernism, Internationalism, and the Cold War: motivate our revision of these familiar calculus terms, the 1930s, 1960s, 1990s (p. 13), Gemma Sharpe Art seminar will read and discuss important counterexamples, History such as nowhere-differentiable continuous functions, Intermediate French I (Section I): Contemporary French rearrangements of infinite series, and the Cantor set. At and Francophone Culture (p. 57), Eric Leveau French the end of the year, we will return to topology. This will give Food, Agriculture, Environment, and Development (p. 61), us the opportunity to see how many of the geometric Joshua Muldavin Geography properties of curves, surfaces, and maps between them Introduction to Development Studies: The Political Ecology find a unified expression in terms of relations among point of Development (p. 62), Joshua Muldavin Geography sets. Conference work will clarify seminar ideas and The Rise of the New Right in the United States (p. 62), possibly their application to mathematical models in the Joshua Muldavin Geography natural sciences, computer science, or economics. Beginning Greek (p. 65), Emily Anhalt Greek (Ancient) Prerequisite: successful completion of two semesters of The Emergence of the Modern Middle East (p. 69), college-level calculus (or its equivalent). Matthew Ellis History Nationalism (p. 71), Matthew Ellis History Courses offered in related disciplines this year are listed Decolonization and the End of Empire (p. 75), Matthew Ellis below. Full descriptions of the courses may be found under History the appropriate disciplines. Can This Republic Be Saved? Cautionary Evidence From Ancient Rome (p. 88), Emily Anhalt Literature Introduction to Computer Science: The Way of the International Perspectives on Psychology (p. 126), Program (p. 28), James Marshall Computer Science Christopher Hoffman Psychology Programming the Web: An Introduction (p. 29), Michael Storytelling and Spirituality in Classical Islam (p. 138), Siff Computer Science Kristin Zahra Sands Religion Principles of Programming Languages (p. 30), James Perspectives on 9/11: Religion, Politics, and Marshall Computer Science Culture (p. 138), Kristin Zahra Sands Religion It’s About Time (p. 116), Merideth Frey Physics The Qur’an and Its Interpretation (p. 139), Kristin Zahra Classical Mechanics (Calculus-Based General Sands Religion Physics) (p. 117), Merideth Frey Physics Sufi Sciences of the Soul (p. 139), Kristin Zahra Sands Introduction to Mechanics (General Physics Without Religion Calculus) (p. 117), Melvin Irizarry-Gelpi Physics Bad Neighbors: Sociology of Difference, Diversity, and Classical and Quantum Waves (p. 117), Melvin Irizarry- Cosmopolitanism in the City (p. 143), Parthiban Gelpi Physics Muniandy Sociology Electromagnetism & Light (Calculus-Based General The Sociology of Sports (p. 144), Shahnaz Rouse Sociology Physics) (p. 117), Merideth Frey Physics Lineages of Utopia (p. 144), Shahnaz Rouse Sociology 20th-Century Physics (p. 117), Merideth Frey Physics Theories of Agency and Action in Science Studies (p. 143), Adrianna Munson Sociology Measuring Difference: Constructing Race, Gender, and Ability (p. 144), Adrianna Munson Sociology 100 Modern and Classical Languages and Literatures MODERN AND CLASSICAL analyzing specific ancient authors, genres, or periods—often in comparison to later artists, writers, LANGUAGES AND LITERATURES theorists, or critics. The interdisciplinary approach across the curriculum At Sarah Lawrence College, we recognize that, at Sarah Lawrence College also means that students can fundamentally, languages are modes of being in the world take their study of language to conference work for and uniquely reveal the way that we exist as human another class; for example, reading primary texts in the beings. Far from being a mechanical tool, language study original Spanish for a class on Borges and math, studying encourages self-examination and cross-cultural Russian montage or 20th-century Japanese cinema for a understanding, offering a vantage point from which to class on film history, or performing German lieder or evaluate personal and cultural assumptions, prejudices, Italian opera in voice class or Molière in a theatre class. and certainties. Learning a new language is not about The language faculty also offers literature courses in putting into another verbal system what you want or know translation, so that students may choose to combine how to say in your own language; rather, it is about literature study with conference work in the original learning by listening and reading and by gaining the ability languages. We also sponsor an annual journal of to think in fundamentally different ways. translation, Babel, which invites submissions from across The College offers seven modern and two classical the College. languages and literatures. Students may take Chinese, Finally, our open curriculum encourages students to French, German, Italian, Japanese, Russian, and Spanish plan a semester or an entire year abroad, and a large from beginning to advanced levels that equally stress the percentage of our students spend their junior year in non- development of communicative skills—such as speaking, English-speaking countries. In addition to our long- listening comprehension, reading, and writing—as well as established programs in Florence, Catania, Paris, and the study of literature written in those languages in Cuba, the College has recently initiated study-abroad Europe, Africa, Asia, and the Americas. We also offer Greek programs in Barcelona, Peru, and Tokyo. There are also two (Ancient) and Latin at the beginning, intermediate, and summer programs: German Studies, Art and Architecture, advanced levels, emphasizing the exploration of ancient and Dance in Berlin; and Translation Studies in Buenos texts in their original historical, political, artistic, and Aires. Our study-abroad programs are usually based on a social contexts and encouraging an assessment of ancient concept of “full immersion,” including experiences such as works on their own terms as a means of elucidating both study at the local university, homestays, and volunteer timeless and contemporary human issues and concerns. work in the country. We also send students to many non- As is the case for all seminars at Sarah Lawrence Sarah Lawrence College programs all over the world. College, our language classes are capped at 15 students. Languages offered include: Chinese, Classics, French, Students have unparalleled opportunities to engage with German, Greek (Ancient), Italian, Japanese, Latin, the language in and out of class—including individual and Russian, and Spanish. group conferences, weekly meetings with language assistants in small groups, language clubs, and language lunch tables. Our proximity to New York City offers terrific MUSIC opportunities to encounter the cultures and languages The music program is structured to integrate theory and that we teach—through lectures, exhibits, plays, films, practice. Students select a combination of component opera, and many other cultural events that are readily courses that together constitute one full course, called a available. Conference work in a language class provides an Music Third. A minimal Music Third includes four opportunity for students to pursue their own particular components. interest in the language. Student conference projects are exceptionally diverse, ranging from reading or translation, 1. Individual instruction (instrumental performance, internships, or work on scholarly or creative writing to composition, or voice), the central area of study listening to music, watching films, or the extended study of around which the rest of the program is planned grammar. In Greek (Ancient) and Latin courses, beginning 2. Theory and/or History students acquire in one year a solid foundation in 3. A performance ensemble grammar, syntax, and vocabulary. Equivalent to three 4. Concert attendance/Music Tuesdays courses at other colleges and universities, one year of Greek (Ancient) or Latin at Sarah Lawrence College The student, in consultation with the faculty, plans the empowers students to read ancient texts with precision music program best-suited to his or her needs and and increasing facility. At the intermediate and advanced interests. Advanced students may, with faculty consent, levels, students refine their linguistic abilities while elect to take two-thirds of their course of study in music. THE CURRICULUM 101 Components for Individual Credit Trumpet—Christopher Anderson Trombone—Jen Baker The following components may be taken as stand-alone Tuba—Andrew Bove courses and not part of a traditional Music Third. Eligible Percussion (drum set)—Matt Wilson students may take one yearlong or two semester-long Percussion (mallet)—Ian Antonio components. Students who elect to take Chamber Music Harp—Mia Theodoratus or an ensemble for credit may also qualify for an individual —Calvin Weirsma lesson on the instrument used in the ensemble. —Calvin Wiersma Violoncello—James Wilson Individual Instruction (lessons, 1 credit) Contrabass—Mark Helias Limited to intermediate or advanced students See the list below for composition and instruments. The director of the music program will arrange all instrumental study with the affiliate artist faculty Chamber Music/Performance Ensemble (1 credit; 2 members, who teach off campus. In all cases, individual credits, if taken with lessons). instruction involves consultation with members of the See the list under Performance Ensembles and Classes. faculty and the director of the music program. Instructors for instruments not listed above will also be arranged. Music History (2 credits) See the list under Music History. Lessons and Auditions Beginning lessons are offered only in voice and . A Music Technology (2 credits) limited number of beginning acoustic guitar lessons are Limited to Introduction to Electronic Music and Music offered based on prior musical experience. All other Technology instrumentalists are expected, during their audition, to See description under Music Technology Courses. demonstrate a level of proficiency on their instruments. In general, the music faculty encourages students to prepare Components as Part of a Music Third two excerpts from two contrasting works that demonstrate the student’s musical background and The following components are offered as part of a full technical ability. Auditions for all instruments and voice, Music Third. which are held at the beginning of the first week of classes, are for placement purposes only. Individual Instruction A limited number of lessons (1 credit) are available to Vocal Auditions, Placement, and intermediate or advanced students who do not wish to take Juries a full Music Third. The voice faculty encourages students to prepare two Arranged by audition with the following members of the contrasting works that demonstrate the student’s musical music faculty and affiliate artists: background and innate vocal skills. Vocal auditions enable the faculty to place the singer in the class most Composition—Patrick Muchmore, John Yannelli appropriate for his/her current level of vocal production. Guitar (acoustic), Banjo, and Mandolin—William Students will be placed in either an individual voice lesson Anderson (two half-hour lessons per week) or a studio class. There Guitar (jazz/blues)—Glenn Alexander are four different studio classes. Voice juries at the end of Bass (jazz/blues)—Bill Moring the year evaluate each student’s progress. Harpsichord and Fortepiano—Carsten Schmidt (online only) Piano Auditions and Placement Piano—Martin Goldray, Bari Mort, Carsten Schmidt The piano faculty encourages students to prepare two (online only) contrasting works that demonstrate the student’s musical Piano (jazz)—Billy Lester background and keyboard technique. Piano auditions Organ—Martin Goldray enable the faculty to place the student with the Voice—Mary Phillips, Molly Quinn, Thomas Young appropriate teacher in either an individual piano lesson or (fall 2021) the Keyboard Lab, given the student’s current level of Flute—Roberta Michel preparation. —Stuart Breczinski Clarinet—Benjamin Fingland Saxophone—John Isley Bassoon—James Jeter 102 Music Acoustic and Jazz Guitar Auditions may enroll up to 55 students. This course may also be and Placement taken as a semester-long component or a one-credit, stand-alone course. The guitar faculty encourages students to prepare two contrasting works that demonstrate the student’s musical background, guitar technique, and, for jazz and blues, Cross-Cultural Listening improvisational ability. Guitar auditions enable the faculty Niko Higgins to place the guitarist with the appropriate teacher in either Open, Lecture—Fall | 5 credits an individual guitar lesson or Guitar Class. This course will explore the relationship of listening, music, and sound across different cultural and historical Composition Lessons contexts. Recent scholarship on listening and sound has The student who is interested in individual instruction in revealed how listening plays a crucial role in the composition must demonstrate an appropriate formulation of theories about music, and we will study background. how various ideas about listening inform contemporary understandings of music and sound. Drawing from Lectures and Seminars research from the field of sound studies, cultural theory, and ethnographic case studies from ethnomusicology and anthropology, we will understand key concepts of listening Lectures and seminars are offered to the College with specific musical and sonic examples. Course units community. Note: The three-credit seminars do not have may include technologies of listening, listening as an conferences; they may be taken as a component in one of impetus for empathy and to stimulate political action, the performing arts Third programs (Music, Dance, or strategies for listening to cultural and musical difference, Theatre). See components listings for specific and music and sound as tools for torture and healing. requirements for students taking Advanced Theory. Individual class sessions may include sound technologies The Philosophy of Music such as the phonograph and the MP3; soundscapes; music therapy; and the listening contexts of individual genres Martin Goldray such as South African pop, Buddhist chant, Arabic Open, Large Lecture—Fall | 5 credits maqamat, muzak, and EDM. Participation in the one of the Music is central to most of our lives. How can we world music ensembles is strongly encouraged. This understand the experience of music? What does music course may be counted for either humanities or social express? If it expresses emotions, how do those emotions science distribution credit; it may also be taken as a relate to the emotions that we experience in everyday life? semester-long component. No prior experience in music is Can music without words express emotions with as much necessary. clarity as music with words? As a background to these questions, we will look at issues concerning the nature and experience of art in general. We will examine the views of Words and Music writers such as Plato, Kant, Schopenhauer, Dewey, and Carsten Schmidt Adorno and compare how they understand the role of art Open, Small Lecture—Fall | 3 credits | Remote in society, as well as our own experiences. The musical In this course, we will examine and try to understand the repertory will include medieval and Renaissance music, magic that happens when words and music combine in music by Bach, songs by Schubert, and examples from the song. Song will be defined broadly. Most of our repertoire symphonic repertory by composers such as Haydn, will be drawn from Western music history, and the range of Mozart, Beethoven, Schubert, Tchaikovsky, and Stravinsky. compositions will be extraordinary: from the chants of We will study those works using the techniques of formal Hildegard von Bingen to the often esoteric and intricate analysis that are generally used in music-history classes motets of the Ars Nova, from the late Renaissance but also attempt to draw out the many contextual threads: madrigals to early and romantic opera, and from the art How are they embedded in a culture, and how do they songs of Schubert and Debussy to experimental reflect the temperament and orientation of the contemporary works. There may also be some in-class composers? While most of our musical examples will be performances. Participants will be responsible for regular from the classical repertory, other styles will occasionally listening and reading assignments, listening exams, and be relevant. The goals of the class are to understand how group presentations. There will be no conferences, but we musical and philosophical thought can illuminate each will have regular individual and group consultations to help other and to deepen our awareness of the range and power prepare presentations and papers. This class may be taken of music. No prior knowledge of music theory or history is as a three-credit course, as a one-credit, stand-alone required; we will introduce and define the terms we need course, or as a music program component. For students as the class proceeds. This course is a large lecture and taking the course for three credits, there will be a number of short paper assignments. THE CURRICULUM 103 The Music of Russia The Art of Interpretation Martin Goldray Martin Goldray Open, Large Lecture—Spring | 5 credits Open, Seminar—Fall | 3 credits This course will survey the great contributions of Russian Interpretation is a central activity in human experience. composers to Western music from the first half of the 19th It’s how we make sense of things from works of art to century to the end of the Soviet era and beyond. We will peoples’ actions, but much of the time we’re unaware of study these works in the context of the important how we go about making our interpretations. In the historical events and intellectual movements that world, interpretation is central and usually galvanized Russian artists: the desire to find the carefully considered. Every moment of a classical music appropriate expression of Russian identity, the performance is mediated through the performer’s ambivalence toward the achievements of Western Europe, interpretation. Much of what we do as performers goes far the ideals of civic responsibility, the aestheticism of the beyond the instructions on the page. Are there rules or later 19th century, the Russian Revolution, and the constraints on this process? What criteria can we use to repressions of Soviet society. Composers to be studied evaluate performances? How have performance styles include Glinka, Tchaikovsky, Musorgsky, Rimsky-Korsakov, changed, and how can we relate those changes to our Scriabin, Rachmaninoff, Prokofiev, Shostakovich, and contemporary tastes? In this class, we will look at scores Stravinsky. No prior music courses or knowledge of music and listen to performances from the entire history of theory is required. This course is a large lecture and may Western music and reflect on the many interpretive enroll up to 55 students. This course may also be taken as decisions made by singers, instrumentalists, and a semester-long component or a one-credit, stand-alone conductors. We will study historical sources and write course. critical appraisals of performances. Readings will range from historical writers such as Leopold Mozart, C. P. E. Global Circulations: Art and Pop Bach, Tosi, Muffat, North, Frescobaldi, and Quantz to contemporary writers such as Taruskin, Harnoncourt, and Music of Asia Haynes. There are no conferences. This course may be Niko Higgins counted as either humanities or creative arts credit. This Open, Lecture—Spring | 5 credits course may also be taken as a semester-long component or This course examines how music and its global circulation a one-credit, stand-alone course. make the relationships between people audible. In the social contexts of listening and musical performance—and in musical sound itself—we will understand how music Sounding Creativity: Musical and its movement across community-based, regional, and Improvisation national boundaries shape people’s lives. As recordings, Niko Higgins musicians, and ideas about music move, we will learn how Open, Seminar—Fall | 5 credits they sound interpersonal relationships by using selected This seminar will focus on the widely practiced creative ethnographic examples of art and popular music from process of musical improvisation. Using video footage of across Asia and the Middle East. Class topics will include live performances, reading and listening assignments, and South Indian classical music, taiko, Southeast Asian heavy class discussions, we will learn to hear and understand an metal, Iranian pop, Japanese hip hop, Bollywood, world array of specific improvisational choices as musicians jazz, noise, K-pop, world music 2.0, and others. Course from different backgrounds progress through their themes related to the circulation of music will include the performances. We will question how personal expression ideology of tradition, cultural imperialism, sound and cultural context shape creativity, which will reveal technologies, and the more recent proliferation of cultural improvisation as an intrinsic form of adaptation that is nationalisms that seek to impede circulation. By essential to artistic expression, communication, and encountering musical diversity through listening and survival. Using a cross-cultural perspective, we will reading materials, students will develop the critical examine the similarities and differences of musical thinking skills to make connections between sonic and improvisation around the world, exploring themes such as textual resources and to better understand the many ways freedom, community, free will, determinism, social justice, that music and sound are meaningful around the world. ethnicity, race, nationalism, class, gender, and sexuality. Participation in Faso Foli, our African percussion Using ethnomusicology’s interdisciplinary approach to ensemble, is strongly encouraged. This lecture course learning about music and culture, this seminar will draw may be counted as either humanities or social science from anthropology, linguistics, social theory, sociology, credit. This course may also be taken as a semester-long psychology, and artists’ personal accounts. Class topics component. No prior musical experience is necessary. may include music in Turkey, Egypt, West Africa, India, Cantonese Opera, 20th-century experimental art music, improvised singing games in Nepal, free improvisation, 104 Music international and American jazz, and turn tabling and Francis Ford Coppola, Stanley Kubrick, Akira Kurosawa DJing. This course will be taught in-person or, if necessary, (note: list is subject to change). Technical topics to be online. Participation in Balinese Gamelan is strongly covered: intro to ProTools and an overview of basic mixing; encouraged. This course may be counted as either concepts in music editing; use of effects such as humanities or social science credit. This course may also compression, eq, reverb and filters; file organization; and be taken as a semester-long component or a one-credit, management and workflow. While this course will be a stand-alone course. No prior experience in music is historical overview of important work and concepts, time necessary. will also be given to developing student work with the hope that students gain experience through collaboration—both The Beatles during class and independently. Music Third students may elect to take this as a component. Martin Goldray Open, Large seminar—Spring | 3 credits The impact of The Beatles has been immeasurable. In their Classes for Beginning Students seven years as a recording band, they explored and enlarged every aspect of songwriting technique, producing Guitar Class one musical milestone after the next. This class will trace Glenn Alexander, William Anderson the development of The Beatles chronologically through Component their 12 original English albums and the singles that were This course is for beginning acoustic or electric guitar released alongside them. We will focus on the ways in students. Faculty recommendation required. which The Beatles used harmony, phrase structure, rhythm, structural ambiguity, and sonority in continuously innovative ways. We will also look at some of the of Keyboard Lab musical styles and cultural phenomena that The Beatles Bari Mort assimilated and transformed—from early rock & roll, Component Motown, and The Goon Show to 1960s This course is designed to accommodate beginning piano counterculture—and explore how The Beatles, in turn, students, who take the Keyboard Lab as the core of their influenced music and culture in the 1960s. There will also Music Third. This instruction takes place in a group setting be guest-led discussions by other members of the music with eight keyboard stations and one master station. faculty on the following topics: The Beatles and the Students will be introduced to elementary keyboard evolution of studio recording; the use of electronic music technique and simple piano pieces. Placement arranged by techniques (Yannelli); Norwegian Wood and the great sitar the piano faculty. explosion (Higgins); electric guitar techniques (Alexander); and acoustic guitar techniques (Anderson). Studio Class There are no conferences. This course may also be taken as a semester-long component or a one-credit, stand- Thomas Young, Mary Phillips, Molly Quinn alone course. Component The Studio Class is a beginning course in basic vocal technique. Each student’s vocal needs are met within the Music and Sound for Film structure and content of the class. Placement audition Giancarlo Vulcano required. Open, Seminar—Spring | 3 credits This class will explore how music and sound serve the Theory and Composition Program dramatic intent of a film. As co-inhabitants of the aural spectrum, a film’s score and sound design are increasingly called upon to interact and work together. Working in one Theory I, Theory II, and Advanced Theory, including their of those areas usually implies a working understanding of historical studies corollaries, make up a required theory the other. The class will cover working with a director on sequence that must be followed by all music students spotting both music and sound, choosing musical themes unless they prove their proficiency in a given area; entry that correspond to the dramatic needs of a film, using level to be determined by diagnostic exam that will be sound design to highlight environmental and psychological administered right after the Music Orientation Meeting facets of the world and its characters, conceptualizing the that takes place during the first day of registration. sonic space of a film, and designing the music and sound so they occupy different frequency areas and remain distinct. The marriage of sound and music has deep roots in the history of cinema, and special attention will be paid to the masters of sound in film such as Walter Murch/ THE CURRICULUM 105 Theory I: Materials of Music participants might be studying in their lessons or ensembles. Prerequisite: successful completion of the Paul Kerekes, Bari Mort required theory sequence or an equivalent background. Component | Hybrid Remote/In-Person In this introductory course, we will study elements of music such as pitch, rhythm, intensity, and timbre. We will Advanced Theory: Jazz Theory and see how they combine in various musical structures and Harmony how those structures communicate. Studies will include Glenn Alexander notation and ear training, as well as theoretical exercises, Component rudimentary analyses, and the study of repertoire from This course will study the building blocks and concepts of various eras of Western music. This course is a jazz theory, harmony, and rhythm, including the study of prerequisite to the Theory II: Basic Tonal Theory and the standard modes and scales, as well as the use of Composition and Advanced Theory sequence. This course melodic and harmonic minor scales and their respective will meet twice each week (two 90-minute sessions). Bari modals systems. The course will also include the study Mort will teach this in-person part of this course. and application of diminished and augmented scales and their role in harmonic progression, particularly the Theory II: Basic Tonal Theory and diminished chord as a parental structure. In-depth study Composition will be given to harmony and harmonic progression through analysis and memorization of triads, extensions, Paul Kerekes, Patrick Muchmore and alterations, as well as substitute chords, Component | Hybrid Remote/In-Person reharmonization, and back cycling. We will look at As a skill-building course in the language of tonal music, polytonality and the superposition of various hybrid this course covers diatonic harmony and voice leading, chords over different bass tones and other harmonic elementary counterpoint, and simple forms. Students will structures. We will study and apply all of the above to their develop an understanding through part writing, analysis, characteristic and stylistic genres, including bebop, modal, composition, and aural skills. The materials of this course free, and progressive jazz. The study of rhythm, which is are prerequisite to any Advanced Theory course. Survey of possibly the single most important aspect of jazz, will be a Western Music is required for all students taking Theory II primary focus, as well. And we will use composition as a who have not had a similar history course. Bari Mort will way to absorb and truly understand the concepts teach this course in person. discussed. Prerequisite: Theory II: Basic Tonal Theory and Composition. Advanced Theory Advanced Theory: 20th-Century At least one of the following Advanced Theory courses is required after Theory II: Theoretical Approaches: Post-Tonal and Rock Music With Advanced Theory it is required to take either a Patrick Muchmore yearlong seminar or two semester-long seminars in music Component history, which include Jazz History; Cross Cultural This course will be an examination of various theoretical Listening (fall); The Modern String Quartet: Evolutions approaches to music of the 20th century—including post- and Styles (fall); Ecomusicology: Music, Activism and tonal, serial, textural, minimalist, and pop/rock music. Our Climate Change (spring); The Philosophy of Music primary text will be Joseph Straus’s Introduction to Post- (spring); The Modern Concerto: Evolutions and Styles Tonal Theory, but we will also explore other relevant (spring). texts—including scores and recordings of the works themselves. This course will include study of the music of Advanced Theory: Advanced Tonal Schoenberg, Webern, Pink Floyd, Ligeti, Bartók, Reich, Theory and Analysis , Nine Inch Nails, Corigliano, and Del Tredici, Carsten Schmidt among others. Open to students who have successfully Component | Remote completed Theory II: Basic Tonal Theory and Composition. This course will focus on the analysis of tonal music, with a particular emphasis on chromatic harmony. Our goal will Compositional Tools and Techniques be to quickly develop basic understanding and skill in this Patrick Muchmore area and then refine them in the analysis of complete Component movements and works. Our repertoire will range from Bach This course will be an introduction to a wide array of to Brahms, and we will try to incorporate music that class compositional languages, primarily within a notated 106 Music context. We will talk about a wide variety of harmonic EMS II: Recording, Mixing and palettes, including some examples of microtonality à la Mastering Electronic Music Ben Johnston and Alois Hába. We will explore various serial procedures, such as the “classical” serialism of John Yannelli Schoenberg and Webern, and the rotational ideas of Ruth Component Crawford Seeger and Stravinsky. We’ll discuss various This course will focus on creating electronic music, methods for guiding improvisation, including the “diamond primarily using software-based digital audio workstations. clef” compositions of Anthony Braxton. Rhythmic and Materials covered will include MIDI, ProTools, Digital metric ideas will be introduced, including asymmetric time Performer, Logic, Reason, Ableton Live, MaxMsp, Traction, signatures, metric modulation as pioneered by Elliott and elements of Sibelius and Finale (as connected to Carter, and rhythmic serialism as in the work of Milton media scoring). Class assignments will focus on Babbitt and Olivier Messiaen. We’ll talk about the potential composing individual works and/or creating music and uses of rhythmic and harmonic symmetry—as, for designing sound for various media, such as film, dance, example, in the chord progressions of John and interactive performance art. Students in this course Coltrane’s Giant Steps. You will learn about these both may also choose to evolve collaborative projects with through score study and through your own small students from those other areas. Projects will be compositional projects. As we jump from topic to topic, I presented in class for discussion and critique. Permission will also have you practice increasingly complex notational of the instructor is required. mini-projects and will introduce you to the rudiments of orchestration for keyboards, strings, woodwinds, brass, EMS III: Studio Composition and and percussion. At the end of the year, you will have a Music Technology broad range of musical languages with which to express John Yannelli your own personal voice; and you will have had Component considerable practice in communicating those ideas Students work on individual projects involving aspects of effectively. Prerequisite: Theory I or equivalent music technology, including but not limited to works for performance on the diagnostic exam. electro-acoustic instruments (live and/or prerecorded), works involving interactive performance media, laptop Music Technology Courses: Studio for ensembles, Disklavier, and improvised or through- Electronic Music and Experimental composed works. Projects will be presented in class for Sound discussion and critique. This component is open to advanced students who have successfully completed EMS I and EMS II or equivalent and are at or beyond the EMS I: Introduction to Electronic Advanced Theory level. Class size is limited. Permission of Music and Music Technology the instructor is required. John Yannelli Component Music History The Sarah Lawrence Electronic Music Studio is a state-of- the art facility dedicated to the instruction and development of electronic music composition. The studio The Blues and Beyond contains the latest in digital audio hardware and software Glenn Alexander for synthesis, recording, and signal processing, along with Component—Year a full complement of vintage analog synthesizers and tape Out of one of the worst atrocities of humanity, we were machines. Beginning students will start with an gifted with the extraordinary music that would become introduction to the equipment, basic acoustics, and known as the blues. In this class, we will explore and principles of studio recording; signal processing; and a analyze the origins of the blues, the uniqueness of this historical overview of the medium. Once students have great American art form, and how the blues are related to acquired a certain level of proficiency with the equipment jazz but take a completely different path—ultimately and material—usually by the second semester—focus will leading us to rock ’n’ roll and all forms of popular music. be on preparing compositions that will be heard in We will dissect the unique components of the blues, which concerts of electronic music, student composers’ defied conventional music theory as we knew it, made it concerts, music workshops, and open concerts. This different from any music that came before it, and out of course is also available as a two-credit stand-alone course. which rock ’n’ roll was born. Through listening to and Permission of the instructor is required. analyzing those early developments, from African drumming pieces to field hollers, work songs, spirituals, early country blues, Delta blues, urban blues and Chicago THE CURRICULUM 107 electric blues, we will discover the African culture and biographies of many composers and the evolution of the musical concepts that survived and how they are the most important stylistic trends of the modern and foundation of every part of popular music, be it jazz, Afro- contemporary eras, and as a music literature course, Cuban, Caribbean, country, rock ’n’ roll, soul, gospel, funk, acquainting the student with seminal symphonies and rhythm and blues, hip hop, rap, Brazilian, and on and on. unsung classics of the genre. In addition to the usual We will study the unique African contributions of music in common-practice suspects, students will be introduced to form, rhythm, melody, tone, and timbre that has now the lives and works of Igor Stravinsky, Dmitri permeated all styles of music. Without this incredible, Shostakovich, Gloria Coates, Anton Webern, Galina invaluable, unique contribution, our music today would be Ustvolskaya, Amy Beach, Per Nørgård, Wolfgang Rihm, very different; and there would have been no Louis Ellen Taaffe Zwilich, John Adams, and others. The Armstrong, Miles Davis, Elvis Presley, Buddy Holly, Chuck evolution of many styles will be explored, including Berry, Ray Charles, Bob Dylan, James Brown, The Beatles, spectralism, serialism, microtonalism, eclecticism, Led Zeppelin, Rolling Stones, Jimmy Hendrix, Eric Clapton, minimalism, and brutalism. This course is also available as Dusty Springfield, Aretha Franklin, Diana Ross & The a one-credit, stand-alone course. Supremes, Otis Redding, Sam Cooke, Elvis Costello, Stevie Wonder, Prince, Kendrick Lamar, Beyonce, and on and on The Modern Piano Sonata: Evolutions and on—right up to every new artist today. First-year students who take this component as their FYS will be and Styles enrolled in a full Music Third and have weekly conferences Patrick Muchmore in the fall and biweekly conferences in the spring. This Component—Spring course is also available as a two-credit, stand-alone, This course will begin with the origins of the piano sonata yearlong class. in the Baroque, Classical, and Romantic eras and will then explore the many “-isms” of the 20th and 21st centuries, as they manifested themselves in that format. The course Survey of Western Music will function as both a history course, introducing the Carsten Schmidt biographies of many composers and the evolution of the Component | Remote most important stylistic trends of the modern and This course is a chronological survey of Western music contemporary eras, and as a music literature course to from the Middle Ages to the present. We will explore the acquaint the student with seminal piano sonatas and cyclical nature of music that mirrors philosophical and unsung classics of the genre. In addition to the usual theoretical ideas established in Ancient Greece and how common-practice suspects, students will be introduced to that cycle most notably reappears every 300 years: the the lives and works of Clara Schumann, Ben Johnston, Ars nova of the 14th century, Le nuove musiche of the 17th Galina Ustvolskaya, John Cage, Alexander Scriabin, century, and the New Music of the 20th century and Florence Price, Charles Ives, Elliott Carter, Aaron Copland, beyond. The course involves reading, listening, and class George Walker, and others. The evolution of many styles discussions that focus on significant compositions of the will be explored, including spectralism, serialism, Western musical tradition, the evolution of form, microtonalism, eclecticism, minimalism, and brutalism. questions of aesthetics, and historical perspective. There This course is also available as a one-credit, stand-alone will be occasional quizzes during the fall term; short course. written summary papers or class presentations are required in the spring. This course is also available as a two-credit, stand-alone, yearlong class. This component is Jazz History required for all students taking Theory II: Basic Tonal Glenn Alexander Theory and Composition and is also open to students who Component have completed the theory sequence. Jazz music of all styles and periods will be listened to, analyzed, and discussed. Emphasis will be placed on instrumental styles and performance techniques that have The Modern String Quartet: evolved in the performance of jazz. Skills in listening to Evolutions and Styles and enjoying some of the finer points of the music will be Patrick Muchmore enhanced by the study of elements such as form, phrasing, Component—Fall instrumentation, instrumental technique, and style. This course will begin with the origins of the symphonic Special emphasis will be placed on the development of form in the Classical and Romantic eras and will then modern jazz and its relationship to older styles. Some explore the many “-isms” of the 20th and 21st centuries, topics: Jelly Roll Morton, King Oliver, Louis Armstrong, as they manifested themselves in that format. The course roots and development of the Big Band sound, Fletcher will function as both a history course, introducing the Henderson, Count Basie, Duke Ellington, lineage of 108 Music pianists, horn players, evolution of the rhythm section, Art Music and Sound for Film Tatum, Bud Powell, Bill Evans, Thelonius Monk, Miles Giancarlo Vulcano Davis, John Coltrane, Charlie Parker, be-bop, cool jazz, jazz Component—Spring of the ’60s and ’70s, fusion and jazz rock, jazz of the ’80s, See course description under Lectures and Seminars. and modern trends. The crossover of jazz into other styles of modern music, such as rock and R&B, will be discussed, as will the influence that modern concert music and world Performance Ensembles and Classes music has had on jazz styles. This is a two-semester class; however, it will be possible to enter in the second All performance courses listed below are open to all semester. This course is also available as a two-credit, members of the Sarah Lawrence community with stand-alone, yearlong class. This is one of the music permission of the instructor. Those who desire may history component courses required for all Advanced receive 1-credit for participation in an ensemble and may Theory students. be eligible for a lesson for an additional 1-credit.

Ensemble Auditions The Beatles Auditions for all ensembles will take at the beginning of Martin Goldray the first week of classes. Component—Fall See course description under Lectures and Seminars. Jazz Studies include the following ensembles:

The Music of Russia The Blues Ensemble Martin Goldray Glenn Alexander Component—Spring Component See course description under Lectures and Seminars. This performance ensemble is geared toward learning and performing various traditional, as well as hybrid, styles of blues music. The blues, like jazz, is a purely American art The Art of Interpretation form. Students will learn and investigate Delta Martin Goldray Blues—performing songs by Robert Johnson, Charlie Component—Fall Patton, Skip James, and others—as well as Texas Country See course description under Lectures and Seminars. Blues, by originators such as Blind Lemon Jefferson, and Chicago Blues, beginning with Big Bill Broonzy and moving The Philosophy of Music up through Howlin’ Wolf and Buddy Guy. Students will also learn songs and stylings by Muddy Waters, Albert King, Martin Goldray and B. B. King and learn how they influenced modern Component—Spring blues, men such as Johnny Winter and Stevie Ray Vaughn, See course description under Lectures and Seminars. and pioneer rockers, such as Jeff Beck, Eric Clapton, Jimmy Page, and Jimi Hendrix. Audition required. Words and Music Carsten Schmidt Jazz Colloquium Component—Fall | Remote Glenn Alexander See course description under Lectures and Seminars. Component This ensemble will meet weekly to rehearse and perform a Global Circulations: Art and Pop wide variety of modern jazz music and other related styles. Music of Asia Repertoire in the past has included works by composers Thelonius Monk, Duke Ellington, Miles Davis, and Herbie Niko Higgins Hancock, as well as some rock, Motown, and blues. All Component—Spring instruments are welcome. Audition required. See course description under Lectures and Seminars.

Sounding Creativity: Musical Jazz Performance and Improvisation Improvisation Workshop Glenn Alexander Niko Higgins Component Component—Fall This class is intended for all instrumentalists and will See course description under Lectures and Seminars. provide a “hands-on” study of topics relating to the THE CURRICULUM 109 performance of jazz music. The class will meet as an Seminar in Vocal Performance: Self- ensemble, but the focus will not be on rehearsing Discovery Through Preparation and repertoire and giving concerts. Instead, students will focus on improving jazz playing by applying the topic at hand Performance directly to instruments—and immediate feedback on the Molly Quinn performance will be given. The workshop environment will Component—Fall allow students to experiment with new techniques as they In this semester, singers will explore methods for develop their sound. Topics include jazz chord/scale musical preparation and performance. The radical theory; extensions of traditional tonal harmony; altered transition from practice room to live performance or chords; modes; scales; improvising on chord changes; audition is a critical leap that all performers must take. As analyzing a chord progression or tune; analysis of form; singers, this transition is particularly critical because our performance and style study, including swing, Latin, jazz- bodies are our instruments. Performance anxiety or stage rock, and ballade styles; and ensemble technique. The fright is a multiheaded beast that we need to address. This format can be adapted to varying instrumentation and class will focus on unlocking preparatory and performance levels of proficiency. Placement audition required. techniques that include journaling, score preparation, memorization work, mindfulness, and the foundations of vocal health. Students interested in taking this course Jazz Vocal Ensemble should be prepared to sing in class for others, prepare Glenn Alexander, Bill Moring music excerpts specifically to this course, and be willing to Component listen openheartedly and discerningly to their fellow No longer do vocalists need to share valuable time with students. During the course of their studies and with those wanting to focus primarily on instrumental jazz and permission of their instructor, all Music Thirds in voice are vice versa. This ensemble will be dedicated to providing a required to take Seminar in Vocal Performance for two performance-oriented environment for the aspiring jazz semesters. vocalist. We will mostly concentrate on picking material from the standard jazz repertoire. Vocalists will get an opportunity to work on arrangements, interpretation, Seminar in Vocal Performance: Vocal delivery, phrasing, and intonation in a realistic situation Repertoire, Developing Collaborative with a live rhythm section and soloists. Vocalists will learn Skills for Rehearsal and Performance how to work with, give direction to, and get what they need Molly Quinn from the rhythm section. It will provide an environment for Component—Spring vocalists to learn to hear forms and changes and also work In this semester, students will learn about vocal repertoire on vocal improvisation if they so choose. This will not only for solo voice, duets, and small groups from a wide range give students an opportunity to work on singing solo or of styles and time periods. Vocal music is inherently lead vocals but to work with other vocalists in singing collaborative, but how do singers learn to advocate for backup or harmony vocals for and with each other. This themselves or speak coherently about their musical will also serve as a great opportunity for instrumentalists choices in a rehearsal setting—or perhaps lead a to learn the true art of accompanying the jazz vocalist, rehearsal, if asked to do so? This class will not only provide which will prove to be a valuable experience in preparing an engaging view of vocal music from the High Middle for a career as a professional musician. Audition required. Ages to the 21st century but will also prepare students to communicate their expressive and musical ideas within Vocal Studies the rehearsal setting. Students interested in taking this course should be prepared to sing in class for others, prepare solo and small ensemble excerpts with fellow Jazz Vocal Seminar class members, and be willing to listen openheartedly and Thomas Young discerningly to their fellow students. During the course of Component—Fall their studies, and with permission of their instructor, all This course is an exploration of the relationship of melody, Music Thirds in voice are required to take Seminar in Vocal harmony, rhythm, text, and style and how those elements Performance for two semesters. Students who have not can be combined and manipulated to create meaning and completed the first semester of Seminar in Vocal beauty. A significant level of vocal development will be Performance should reach out directly to the professor expected and required. Audition required. before registering. 110 Music Acting and Movement for Singers play—balafons, dun dun drums, and djembe hand drums—were constructed for the College in 2006, Mary Phillips handcrafted by master builders in Guinea. Relevant Component—Fall and Spring instrumental techniques will be taught in the class, and no Singers are faced with specific challenges when working previous experience with African musical practice is on and performing in a musical piece. We have the notes, assumed. Any interested student may join. rhythm, intonation, diction, acting, and physicality to coordinate into one cohesive expression. In this acting and movement for the singer seminar, we will focus on each of Other Classes and Ensembles these elements separately in order for you to find a way to make the song a truthful and natural extension of yourself. Baroque Ensemble The seminar will provide a practical approach for the singing actor by using the lyrics as a monologue before Carsten Schmidt bringing them to the music. We will explore where those Component—Spring | Remote works lead us in the space, and we will incorporate simple This performance ensemble focuses on music from acting and movement exercises to get to the core truth of roughly 1600 to 1750 and is open to both instrumentalists the piece—what it means to you. Some of the work will be and singers. Using modern instruments, we will explore based on the teachings of Sanford Meisner (Neighborhood the rich and diverse musical world of the Baroque. Regular Playhouse, American Musical Theatre Academy), who coachings will be supported by sessions exploring a said: “All my exercises were designed to strengthen the variety of performance practice issues, such as guiding principle that art expresses human experience.” ornamentation, notational conventions, continuo playing, and editions. Audition required.

World Music Ensembles and Courses Acoustic Beatles William Anderson Gamelan Angklung Chandra Buana Component—Fall Niko Higgins, Nyoman Saptanyana For singers and/or guitarists, this ensemble will take on Component—Fall any Beatles songs that work with acoustic guitar. Singers A gamelan angklung is a bronze orchestra that includes and guitarists at any level are welcome, as are singers who four-toned metallophones, gongs, drums, and flutes. play some guitar and guitarists who sing. Rhythmic patterns played upon the instruments interlock and combine to form large structures of great complexity and beauty. The gamelan angklung that we will play was Folk and Folk Rock specially handcrafted in Bali for the College and was William Anderson named Chandra Buana, or “Moon Earth,” at its dedication Component—Spring on April 16, 2000, in Reisinger Concert Hall. Any interested This ensemble will cover the US folk-rock student may join; no previous experience with music is music movement from Guthrie through the hippies, necessary. including union songs and protest songs. Singers and guitarists at any level are welcome, as are singers who play West African Percussion Ensemble some guitar and guitarists who sing. Faso Foli Chamber Music Andrew Algire, Niko Higgins Component—Spring Bari Mort Faso Foli is the name of our West African performance Component ensemble. Faso foli is a Malinke phrase that translates Various chamber groups—from quartets or quintets to loosely as “playing to my father’s home.” In this class, we violin and piano duos—are formed each year, depending will develop the ability to play expressive melodies and on the number and variety of qualified instrumentalists intricate polyrhythms in a group context, as we recreate who apply. There are weekly coaching sessions. At the end the celebrated musical legacy of the West African Mande of the semester, groups will have an opportunity to Empire. These traditions have been kept alive and vital perform in a chamber music concert. This component will through creative interpretation and innovation in Africa, be taught by Ms. Mort and members of the Affiliate Faculty. the United States, and other parts of the world. Correspondingly, our repertoire will reflect a wide range of expressive practices, both ancient in origin and dynamic in contemporary performance. The instruments we THE CURRICULUM 111 Chamber Music Improvisation Music Workshops and Open Concerts John Yannelli Bari Mort Component Component This is an experimental performing ensemble that explores Music workshops present an opportunity for students to a variety of musical styles and techniques, including free perform the music that they have been studying in an improvisation, improvisational conducting, and various informal, supportive environment. In this class, other chance-based methods. The ensemble is open to all participants will present a prepared piece and receive instruments (acoustic and electric), voice, electronic constructive feedback from the instructor and other synthesizers, and laptop computers. Students must be students. Along with the specifics of each performance, able to demonstrate a level of proficiency on their chosen class discussion may include general performance issues, instrument. Composer-performers, dancers, and actors such as dealing with anxiety, stage presence, and other are also welcome. Performance opportunities will include: related topics. Each term will consist of three workshops, concerts; collaboration with other programs such as culminating at the end of each semester in an Open dance, theatre, film, and performance art; and community Concert that is a more formal recital. The entire College outreach. Open to a limited number of students. Audition community is welcome and encouraged to participate. required. Courses offered in related disciplines this year are listed Guitar Ensemble below. Full descriptions of the courses may be found under the appropriate disciplines. William Anderson Component Sursum Corda: Art and Architecture from Michelangelo to This class offers informal performance opportunities on a the Dawn of the Enlightenment, 1550-1700 (p. 13), weekly basis as a way of exploring guitar solo, duo, and Joseph C. Forte Art History ensemble repertoire. The course will seek to improve First-Year Studies in Dance (p. 31), John Jasperse Dance sight-reading abilities and foster a thorough knowledge of Hard Times Require Furious Dancing: Movement as the guitar literature. Recommended for students Language in Performance, Politics, and Everyday interested in classical guitar. Approval by the instructor is Life (p. 31), Peggy Gould Dance required. Movement Studio Practice (p. 32), Peggy Gould, Jodi Melnick, Lacina Coulibaly, Jennifer Nugent, Janet Senior Recital Charleston, Jordan Demetrius Lloyd, Jasmine Hearn Dance Component—Spring Dance Movement Fundamentals (p. 32), Peggy Gould, This component offers students the opportunity to share Lacina Coulibaly, Jennifer Nugent Dance the results of their sustained work in performance study Ballet (p. 32), Megan Williams, Sharon Milanese Dance with the larger College community. During the semester of West African Dance (p. 32), Lacina Coulibaly Dance their recital, students will receive additional coaching by Hip-Hop (p. 32), Matthew Lopez Dance their principal teachers. Audition required. Yoga (p. 33), Patti Bradshaw Dance Tai Ji Quan and Qi Gong (Fundamentals) (p. 33), Sherry Master Classes and Workshops Zhang Dance Butoh Through LEIMAY Ludus (p. 33), Ximena Garnica Master Class Dance Improvisation in Dance as Real-Time Composition (p. 33), Component John Jasperse Dance Master Class is a series of concerts, instrumental and Live Time-Based Art (p. 34), Beth Gill, John Jasperse, Dean vocal seminars, and lecture demonstrations pertaining to Moss Dance music history, world music, improvisation, jazz, Performance Project (p. 34), Beth Gill, Kyle Marshall Dance composition, and music technology. Master classes take Music for Dancers: The Logic of Interaction (p. 34), William place on Wednesdays from 12:30-1:30 p.m. in either Catanzaro Dance Reisinger Concert Hall or Marshall Field House Room 1. Anatomy (p. 35), Peggy Gould Dance The classes are open to the College community. Taught by Anatomy Research Seminar (p. 35), Peggy Gould Dance music faculty and guest artists Music and Sound for Film (p. 54), Giancarlo Vulcano Filmmaking and Moving Image Arts Beginning Italian: Viaggio in Italia (p. 80), Tristana Rorandelli Italian Intermediate Italian: Modern Italian Culture and Literature (p. 80), Tristana Rorandelli Italian 112 New Genres and Interactive Art Theatre and the City (p. 86), Joseph Lauinger Literature the College offers three types of philosophy courses: those Conscience of the Nations: Classics of African organized around thematic topics, such as Philosophy of Literature (p. 92), William Shullenberger Literature Science, Aesthetics, and Philosophy and Literature; those Advanced Intermediate Spanish: Political organized historically, such as Moral Philosophy, Political Creativity (p. 146), Heather Cleary Spanish Philosophy, and 20th-Century Philosophy; and those that Performance Art (p. 170), Clifford Owens Visual and Studio study the “systems” of philosophers such as Kant, Arts Nietzsche, and Wittgenstein. First-Year Studies: Two Lenses on Writing (p. 174), Myra Goldberg Writing Philosophy faculty use the latest technology in their teaching, including web boards for posting course material NEW GENRES AND and promoting discussion. Yearlong courses make extensive textual work possible, enabling students to INTERACTIVE ART establish in-depth relationships with the thoughts of the great philosophers and to “do philosophy” to some New genres and interactive art span offerings in visual degree—particularly valuable to students preparing for arts, film and media, and computer science to foster graduate work in philosophy. Conference work often technical and digital literacy in the arts. Designed for consists of students thinking through and writing on single experimentation, this initiative helps students establish philosophic and literary works, ranging from Greek digital proficiency while supporting the exploration of a tragedy, comedy, or epic to Plato, Aristotle, Aquinas, wide range of new media forms and technologies. Courses Machiavelli, Descartes, Shakespeare, Hobbes, Locke, of study might include visual programming, artificial Rousseau, Hume, Kant, Hegel, Marx, Nietzsche, or intelligence, gaming, robotics, experimental animation, Heidegger. computer arts, experimental media design, data visualization, real-time interactivity, digital signal processing, cross-platform media environments, and Philosophy with/for Children mobile media development. Students are encouraged to Keren Sadan coordinate these project-based investigations of the Open, Small Lecture—Fall | 5 credits | Remote digital throughout their studies in the humanities, Philosophy with/for Children is a movement that was including literature, philosophy, politics, sociology, theatre, started by Matthew Lipman in the early 1970s in the and writing. United States. Today, it is an established pedagogy that is practiced across dozens of countries and about which Courses offered in related disciplines this year are listed there is a rich and evolving body of research, writing, and below. Full descriptions of the courses may be found under discussion. What makes the idea of philosophy with the appropriate disciplines. children so interesting is, first of all, the children: listening to children, to their thoughts, ideas, and questions. But no Introduction to Computer Science: The Way of the less importantly, the it forces us to rekindle the Program (p. 28), James Marshall Computer Science foundational questions of philosophy: What is philosophy? Lighting in Life and Art (p. 36), John Jasperse Dance What makes a thought, idea, or a question philosophical? Digital Imaging Studio (p. 169), Shamus Clisset Visual and When and how does philosophical thinking begin? And Studio Arts who is the subject of philosophy? Who does philosophy, 3D Modeling (p. 169), Shamus Clisset Visual and Studio and how is it “done”? In this course, we will read and Arts watch children’s philosophical dialogues and become Performance Art (p. 170), Clifford Owens Visual and Studio familiarized with theoretical texts about children’s Arts philosophical thinking. We will be constantly shifting from Photogrammetry (p. 173), Shamus Clisset Visual and theoretical to practical aspects of Philosophy for Children. Studio Arts During group conference, we will experience the pedagogical methods of Philosophy for Children hands-on, PHILOSOPHY including games, discussion sessions, and the ways children generate philosophical questions. Our focus will At Sarah Lawrence College, the study of philosophy retains be on children from the ages of five to 11. Among our a centrality that helps students synthesize their readings will be texts by philosophers Matthew Lipman, educational experience with the discipline’s many Catherine McCall, Jana Mohr Lone, Gilles Deleuze, Luce connections to other humanities and to social science. Irigaray Jacques Ranacière, and Friedrich Nietzsche. Through conference work, students also find numerous ways to connect the study of philosophy with their interests in the arts and natural sciences. Stressing the great tradition of classical and contemporary philosophy, THE CURRICULUM 113 Philosophy Through Film authors. Conference material will include stories by Franz Kafka, Albert Camus, and Ralph Ellison and films like The Scott Shushan Battle of Algiers (1967) and Monsieur Klein (1977). Open, Lecture—Fall | 5 credits You care about movies (I presume). Why do you care about movies? Because they entertain you? Because they Critical Race Theory: Philosophical are beautiful? Because they are informative? Because Perspectives they make you feel things? The guiding thought of this Carmen De Schryver class is that we care about movies because they Open, Lecture—Spring | 5 credits participate in the practice of philosophy (or at least they What is race? In what ways have prominent political have that potential). Of course, this also presumes that we movements—such as liberalism, Marxism, and care about philosophy (a claim that will take some time to feminism—failed to fully address the significance of defend). To test that hypothesis—that films have the racism? How should the relationship between racial and potential to participate in the practice of philosophy—we be conceptualized? How do processes of first need to consider what the practice of philosophy is; racialization differ across the globe? Is the assertion of then we will need to say something about what film is; and racial identity in conflict with universal humanism—or are then we can examine whether film can do philosophy. In these, in fact, necessarily connected? In this course, we the first part of the course, we will analyze the medium of will look at some of the major themes, debates, and film in order to clarify the characteristics of it that would questions within critical race theory from a historical and allow it to be philosophical. In the second part of the class, global perspective. In the first half of the course, we will we will explore how those characteristics of film engage with thinkers from the African continent and the contribute to how we think philosophically about our lives. Caribbean who centered issues of Black consciousness In particular, we will explore problems pertaining to and decolonial, antiracist solidarity. We then look at some subjectivity (What it is to be a human being?) and to of the major historical forbearers of critical race theory ethics (How do I know the right thing to do?). Each week within the United States before turning to contemporary we will watch a film (including Jeanne Dielman, Psycho, debates. Some of the figures that we will be reading 2001: A Space Odyssey, Get Out, and Spring Breakers) and include Paulette Nardal, Léopold Senghor, Frantz Fanon, read a philosophical text (including Aristotle, Cavell, Martin Luther King Jr., Malcolm X, Angela Davis, and Merleau-Ponty, Parfit, and Adorno), with the aim of Kimberlé Crenshaw. By foregrounding the plurality of placing the two in conversation. critical-race theoretical traditions, this course provides students with the theoretical tools to critically engage Existentialism problems central to current political realities and Roy Ben-Shai discourse. Group conferences will meet every week, and Open, Lecture—Spring | 5 credits discussion will be a central part of the course. Does life have a purpose, a meaning? What does it mean “to be”? What does it mean to be human? What does it Women Philosophers in the 20th and mean to be a woman (or to be a man)? What does it mean 21st Centuries to be black (or to be white)? What makes us into who we are? What distinguishes each of us? And what, if anything, Roy Ben-Shai is in common to all of us? These and other questions are Open, Seminar—Year | 10 credits raised by existentialist philosophy and literature, mostly Western philosophy originated in Ancient Greece more through interrogation of real-life experiences, situations, than 2,000 years ago, addressing fundamental questions and “fundamental emotions” such as anxiety, boredom, about being and time, about the human condition, about loneliness, and shame. In the first half of this class, we will ethics and politics, about science and religion. Despite the get acquainted with the core tenets of existentialist fundamental and universal nature of these questions, thought by reading two of its most influential figures: philosophy was practiced (at least publicly) mostly by men for the majority of those 2,000 years. It was not until Jean-Paul Sartre (France, 1905-1980) and Martin Heidegger (Germany, 1889-1976). In the second half, we the 20th century that this convention began to be will analyze texts by authors who set out to expand or significantly challenged, both practically (by the fact that challenge these core tenets on the grounds of their more and more women entered the forefront of experiences of oppression. These authors are Simone de philosophical discussion) and theoretically (by Beauvoir, Frantz Fanon, and Jean Améry. Group questioning the validity and scope of this male-dominant conference will meet weekly and play a central role in this tradition). This yearlong course is a survey of 20th- course. In it, we will mostly read literary texts or watch century continental philosophy that, countering the films that are relevant to the work of the above-listed aforementioned tradition, focuses exclusively on the work of . Among the authors we may read 114 Philosophy are Sarah Ahmed, Hannah Arendt, Simone de Beauvoir, philosophy but also put these thinkers in dialogue with Talia Bettcher, Judith Butler, bell hooks, Luce Irigaray, each other, testing the insights that they generate and also Melany Klein, Julia Kristeva, Audre Lorde, Maria Lugones, the blind spots that they produce by comparing them with Simone Weil, Sylvia Winter, and Virginia Woolf. Some of one another. The first half of this yearlong course these philosophers are feminists or consider the issue of considers several of the most important critical sexual difference as central to their work or to philosophy philosophers of the last third of the 20th century, while in general; some are not. More importantly for our the second half concentrates on thinkers whose works and purposes, surveying their thought will be our means of ideas gained prominence primarily in the first decades of acquiring a comprehensive view of the key developments 21st-century philosophy. This is an advanced and in continental philosophy of the 20th and 21st centuries demanding course. Prior experience in philosophy or a and the relations between them, including kindred discipline is required. phenomenology, existentialism, psychoanalysis, critical theory, structuralism and poststructuralism, feminism, Decolonizing Philosophy black feminism, and trans-feminism, decolonial and queer theories. During the fall semester, in addition to biweekly Carmen De Schryver individual conferences, first-year students will have a Open, Seminar—Fall | 5 credits biweekly group conference, in which we will discuss the In this course, we will think about the various strategies nature of academic work in general and practice research, for reforming the philosophical “canon” with decolonial reading, writing, and editing skills. This course is open to aims in view. Some of the questions that will guide our first-year students as a First-Year Studies course, as well discussions throughout the semester are: How does as to sophomores, juniors, and seniors. academic decolonization differ from political decolonization? What are the connections between philosophy as an academic discipline and the historical Big, Deep, and New: Recent Works in reality of colonialism? Does decolonial theory require a Moral and Political Philosophy break with the Western tradition of thought? And, if not, David Peritz what are the advantages and disadvantages of remaining Advanced, Seminar—Year | 10 credits in dialogue with the Western “canon”? What are the While important trends in contemporary culture and various decolonizing strategies, and what goals do they politics seem to promise not only “the death of enact? In the first half of the course, we will read a variety philosophy” but also the arrival of a “post-truth epoch,” of key texts within decolonial theory that propose very the oldest discipline itself seems not to have gotten the different answers to these questions. Some of the thinkers memo. Instead, the last 50 years witnessed a blossoming we will look at include Walter Mignolo, Marisa of original, important, exciting, and genuinely new work in Belausteguigoitia, Audre Lorde, Kwasi Wiredu, Lewis systematic philosophy. Spanning different traditions Gordon, and Nadia Yala Kisukidi. The second half of the (analytic and continental) and locations (Anglo-American, course then moves on to put into practice one strategy for German, French, Italian, postcolonial, etc.), the decolonizing philosophy in order to allow us to engage reemergence of systematic philosophy revisits many of these questions more concretely. This strategy involves the most important questions that occupied the grand reading “canonical” texts of European tradition for much of the last 2,500 years. What matters in phenomenology—including texts by Edmund Husserl and life? What do we owe to each other? What do we mean by Martin Heidegger—through the lens provided by the truth? In what does human agency consist? Does decolonial thinkers such as Paulin Hountondji, Frantz human morality stem primarily from reason or emotion or Fanon, and Mariana Ortega. Beyond equipping students their combined operation? What is the nature of justice? Is with the tools to think critically about canon formation and it always wrong to lie? Can all aspects of human the meaning of academic decolonization, this course will experience be accounted for in terms of biological familiarize students with seminal texts in Latinx and processes, or do some escape reductive scientific Africana traditions of decolonial theory, as well as with explanation? At the same time, new issues of race, gender, critical and decolonial phenomenology. identity, and, ultimately, the claim to universal knowledge and authority made on behalf of philosophy itself have Human Nature, Second Nature, and been added to the range of traditional issues addressed by Our Way of Life contemporary philosophers. This course is for anyone interested in coming up to speed with important Scott Shushan developments in recent philosophy and will focus on the Open, Seminar—Fall | 5 credits big ideas from some of the most important recent This class is an exploration of our human way of being. As thinkers. In it, we will not only survey some of the most Aristotle theorized, our nature is distinctive in being important and challenging works in contemporary incomplete—only finding its completion in the social THE CURRICULUM 115 world. Taking Aristotle’s thought as a guiding principle, we when we sit in a chair, we demonstrate knowledge that a will investigate not only our innate nature but also our chair is a thing to be sat upon. This class investigates what second nature. This second nature includes the customs, these varied instances of knowledge share in common, habits, and practices that we inhabit as we mature and how knowledge should be defined, and what capacities through which we see, think, and interact with the world. qualify us as knowers. We will begin by reading the first As such, second nature accounts for everything from historical queries into how we arrive at knowledge (Plato walking upright to our ethical and political commitments. and Aristotle), then jump to consider modern attempts to The paradox of second nature is that while it shades the secure foundations for knowledge (René Descartes), and entirety of our experience, we are largely unaware of its then turn to investigate the asymmetry between operation. While we might know what we are thinking knowledge of our own minds and knowledge of others’ about, we rarely know how we are thinking or what guides minds (Gilbert Ryle and Stanley Cavell). Finally, reading us to certain conclusions. Accordingly, the topics of critical race theory (W. E. B Du Bois and Charles Mills) and second nature will touch upon philosophical problems (Sally Haslanger and Lorraine Code), such as the establishment of criteria for knowledge, we will consider how our identities and relative privileges judging the rightness or wrongness of our action, as well or underprivileges influence what we are capable of as the role of art in both facilitating and resisting second knowing. This will give us the opportunity to reflect on the nature. Lastly, if we are guided in our thoughts and actions vital relationship between knowledge and justice. by a second nature whose effect is mostly opaque to us, then we must also address the apparent challenge to our Ancient Philosophy (Plato) freedom; that is, the degree to which our thoughts and actions are up to us. Readings for this course will include Michael Davis Aristotle, G. W. F. Hegel, Felix Ravaisson, Sigmund Freud, Intermediate, Seminar—Spring | 5 credits William James, John Dewey, Maurice Merleau-Ponty, This course will be devoted to a careful reading of one text. Simone de Beauvoir, Ludwig Wittgenstein, Sally Haslanger, The goal of the course is twofold. First, it is designed to and Charles Mills. acquaint students in more than a superficial way with, perhaps, the seminal figure in the philosophical tradition. (The 20th-century philosopher, Alfred North Whitehead, Being and Time once remarked that the “safest general characterization of Roy Ben-Shai the European philosophical tradition is that it consists of a Sophomore and Above, Seminar—Fall | 5 credits series of footnotes to Plato.) This will force us to slow our In this seminar, we will study closely one of the most usual pace of reading, to read almost painfully carefully, influential books of 20th-century philosophy: Being and with a view to understanding Plato as he wrote and as he Time, by German philosopher Martin Heidegger understood himself and not as a stage in a historical (1889-1776). Among the founding texts of existentialism development. The second part of the goal of the course is and phenomenology, Being and Time (1927) offers an to introduce and encourage this kind of careful reading. existential analysis of the human condition, including what The text for Spring 2022 will be Plato’s Phaedo. it means to be in the world, to be with others, and to be toward death, as well as the difference between authentic Life and Beauty—Kant’s Critique of and inauthentic modes of being. This work revolutionized some of the most deep-seated assumptions in philosophy, Judgment psychology, and science, inspiring new movements in Scott Shushan psychoanalysis, feminism, linguistics, political theory, Intermediate, Seminar—Spring | 5 credits literary theory, and other fields. Immanuel Kant revolutionized philosophy with his Copernican turn, which limits our knowledge of the world to our subjective experience of it. Kant elaborated this Theories of Knowledge thought in the three volumes of philosophy that comprise Scott Shushan his critical system. After investigating questions Open, Seminar—Spring | 5 credits pertaining to knowledge in the First Critique and problems What does it mean to know something? Every day, we of validating moral judgment in the Second Critique, Kant presume to know things: We presume to know that the shifts in the Third Critique (our object of study) to Earth circles around the Sun, that human beings are born elaborate the forms of judgment that we employ in making with unalienable rights, that you are upset with me for sense of beauty in nature, works of art, and the meaning or answering honestly about whether I like your new shirt, purpose of life. The first part of the book focuses on that I am currently reading a course description for a aesthetic judgments; in it, Kant asks, What do we mean philosophy class, that Radiohead is my favorite band, or when we call something—for instance, a sunset or even that this is my right hand. Beyond specific claims, when we painting of a sunset—beautiful? The second part of the act we rely on knowledge about the world; for instance, 116 Physics book investigates teleological judgments; in it, Kant asks, The Art of Interpretation (p. 103), Martin Goldray Music How do we judge something to be alive? Not only does this It’s About Time (p. 116), Merideth Frey Physics book establish many of the central questions of modern 20th-Century Physics (p. 117), Merideth Frey Physics aesthetics—such as, How can aesthetic judgments be Big, Deep, and New: Recent Works in Moral and Political objective?—but it also addresses the antagonism between Philosophy (p. 119), David Peritz Politics freedom and nature, the experience of the sublime, the First-Year Studies: The Senses: Art and Science (p. 125), emergence of artistic genius, the postulation of a sensus Elizabeth Johnston Psychology communis (common sense), and the relation between Art and Visual Perception (p. 133), Elizabeth Johnston beauty and morality. Over the course of the semester, we Psychology will observe the vast influence of the Critique of Judgment Readings in Christian Mysticism: Late Antiquity (p. 137), on both art and the philosophy of art. We will complement Ron Afzal Religion our reading of Kant’s text by considering such modern Theories of Agency and Action in Science Studies (p. 143), thinkers as Theodore Adorno, Hannah Arendt, Jean- Adrianna Munson Sociology Francois Lyotard, Achille Mbembe, and Hannah Ginsborg. Measuring Difference: Constructing Race, Gender, and As well, we will appraise Kant’s ideas in consideration of Ability (p. 144), Adrianna Munson Sociology the works of Beethoven, Barnett Newman, Jackson Lineages of Utopia (p. 144), Shahnaz Rouse Sociology Pollock, Jo Baer, Marcel Duchamp, James Turrell, among First-Year Studies: Two Lenses on Writing (p. 174), Myra many others. Goldberg Writing Nonfiction Workshop: Cultural Criticism (p. 179), Cynthia Courses offered in related disciplines this year are listed Cruz Writing below. Full descriptions of the courses may be found under Experiments With Truth: Nonfiction Writing From the the appropriate disciplines. Edges (p. 181), Vijay Seshadri Writing Sursum Corda: Art and Architecture from Michelangelo to PHYSICS the Dawn of the Enlightenment, 1550-1700 (p. 13), Joseph C. Forte Art History Physics—the study of matter and energy, time and space, Virtue and the Good Life: Ethics in Classical Chinese and their interactions and interconnections—is often Philosophy (p. 18), Ellen Neskar Asian Studies regarded as the most fundamental of the natural sciences. Artificial Intelligence and Society (p. 30), James Marshall An understanding of physics is essential for an Computer Science understanding of many aspects of chemistry, which in turn Yoga (p. 33), Patti Bradshaw Dance provides a foundation for understanding a variety of Worldbuilding (p. 49), Peter Burr Filmmaking and Moving biological processes. Physics also plays an important role Image Arts in most branches of engineering; and the field of Introduction to Development Studies: The Political Ecology astronomy, essentially, is physics applied on the largest of of Development (p. 62), Joshua Muldavin Geography scales. Beginning Greek (p. 65), Emily Anhalt Greek (Ancient) Winds of Doctrine: Europe in the Age of the As science has progressed over the last century or so, the Reformation (p. 69), Philip Swoboda History boundaries between the different scientific disciplines Intermediate Latin (p. 82), Emily Anhalt Latin have become blurred, and new interdisciplinary First-Year Studies: Romanticism to Modernism in English- fields—such as chemical physics, biophysics, and Language Poetry (p. 85), Neil Arditi Literature engineering physics—have arisen. For these reasons, and Theatre and the City (p. 86), Joseph Lauinger Literature because of the excellent training in critical thinking and Studies in Ecocriticism: The Idea of Nature in the Western problem-solving provided by the study of physics, this Tradition (p. 87), Eric Leveau Literature subject represents an indispensable gateway to the other Milton, Blake, and the Bible (p. 87), William Shullenberger natural sciences and a valuable component of a liberal- Literature arts education. Can This Republic Be Saved? Cautionary Evidence From Ancient Rome (p. 88), Emily Anhalt Literature It’s About Time Toward a Theatre of Identity: Ibsen, Chekhov, and Merideth Frey Wilson (p. 89), Joseph Lauinger Literature Open, Small Lecture—Fall | 5 credits Conscience of the Nations: Classics of African This seminar will explore the topic of time from a wide Literature (p. 92), William Shullenberger Literature variety of viewpoints—from the physical to the Mathematics and Jorge Luis Borges (p. 97), Daniel King metaphysical to the practical. We will seek the answers to Mathematics questions such as: What is time? How do we perceive The Philosophy of Music (p. 102), Martin Goldray Music time? Why does time appear to flow only in one direction? The Music of Russia (p. 103), Martin Goldray Music Is time travel possible? How is time relative? We will THE CURRICULUM 117 explore the perception of time across cultures and eras, Classical and Quantum Waves construct an appreciation of the arrow of time by Melvin Irizarry-Gelpi designing and building a Rube Goldberg machine, and Intermediate, Seminar—Fall | 5 credits discuss scientific articles and science-inspired works of This course, which will provide an introduction to both fiction to make sense of this fascinating topic. Time stops classical and quantum waves, is a required prerequisite for no one, but let’s take some time to appreciate its course for those interested in pursuing the Columbia uniqueness. Combined Plan program in applied mathematics, applied physics, biomedical engineering, electrical engineering, Classical Mechanics (Calculus-Based and materials science and engineering. Topics will include: General Physics) classical waves and the wave equation, oscillations and Merideth Frey normal modes, Fourier series and Fourier transforms; Open, Seminar—Fall | 5 credits quantum waves and the Schrödinger equation; topics from Calculus-based general physics is a standard course at quantum physics, including quantization of energy levels most institutions; as such, this course will prepare you for and reflection and transmission off barriers; and various more advanced work in the physical science, engineering, applications of waves corresponding to student interests. or health fields. This course will cover introductory Prerequisite: Students should have at least two semesters classical mechanics, including kinematics, dynamics, of calculus and either have completed or plan to enroll in momentum, energy, and gravity. Emphasis will be placed Multivariable Calculus. on scientific skills, including: problem-solving, development of physical intuition, scientific Electromagnetism & Light (Calculus- communication, use of technology, and development and Based General Physics) execution of experiments. The best way to develop Merideth Frey scientific skills is to practice the scientific process. We will Open, Seminar—Spring | 5 credits focus on learning physics through discovering, testing, Calculus-based general physics is a standard course at analyzing, and applying fundamental physics concepts in most institutions; as such, this course will prepare you for an interactive classroom, as well as in weekly laboratory more advanced work in the physical science, engineering, meetings. Students are encouraged to have completed one or health fields. This course will cover waves, geometric semester of calculus as a prerequisite. It is strongly and wave optics, electrostatics, magnetostatics, and recommended that students who have not completed the electrodynamics. We will use the exploration of the second semester of calculus enroll in Calculus II, as well. particle and wave properties of light to bookend our Calculus II, or equivalent, is highly recommended in order discussions and ultimately finish our exploration of to take Electromagnetism and Light (Calculus-Based classical physics with the hints of its incompleteness. General Physics) in the spring. Emphasis will be placed on scientific skills, including: problem-solving, development of physical intuition, Introduction to Mechanics (General scientific communication, use of technology, and Physics Without Calculus) development and execution of experiments. The best way Melvin Irizarry-Gelpi to develop scientific skills is to practice the scientific Open, Seminar—Fall | 5 credits process. We will focus on learning physics through This course covers introductory classical mechanics, discovering, testing, analyzing, and applying fundamental including dynamics, kinematics, momentum, energy, and physics concepts in an interactive classroom, as well as in gravity. Students considering careers in architecture or weekly laboratory meetings. Permission of the instructor is the health sciences, as well as those interested in physics required. Students are encouraged to have completed for physics’ sake, should take either this course or Calculus II, or equivalent, as a prerequisite. Students are Classical Mechanics. Emphasis will be placed on scientific NOT required to have taken Classical Mechanics before skills, including problem-solving, development of physical taking this course. intuition, scientific communication, use of technology, and development and execution of experiments. Seminars will 20th-Century Physics incorporate discussion, exploratory activities, and Merideth Frey problem-solving activities. In addition, the class will meet Open, Seminar—Spring | 5 credits weekly to conduct laboratory work. A background in This course will provide an overview of the pivotal calculus is not required. This course, or equivalent, is developments in 20th-century physics that dramatically required to take Introduction to Electromagnetism, Light, overturned the centuries-old scientific understanding of and Modern Physics (General Physics Without Calculus) in the fundamental laws of our universe. In this seminar- the spring. style class, we will discuss readings, walk through thought 118 Political Economy experiments, and unravel paradoxes to understand the POLITICAL ECONOMY concepts behind Einstein’s theories of special and general relativity, debate various interpretations of quantum Classes from disciplines such as economics, geography, mechanics, and explore the open questions that are history, LGBT studies, politics, psychology, public policy, motivating theoretical physics research in the 21st sociology, and writing comprise the classes available century. within this cross-disciplinary path. Introduction to Electromagnetism, Courses offered in related disciplines this year are listed below. Full descriptions of the courses may be found under Light, and Modern Physics (General the appropriate disciplines. Physics Without Calculus) Melvin Irizarry-Gelpi Ethnographic Research and Writing (p. 7), Robert R. Intermediate, Seminar—Spring | 5 credits Desjarlais Anthropology This course covers electromagnetism and optics. Global Modernism, Internationalism, and the Cold War: Emphasis will be placed on scientific skills, including 1930s, 1960s, 1990s (p. 13), Gemma Sharpe Art problem-solving, development of physical intuition, History scientific communication, use of technology, and First-Year Studies: Working USA: American Workers in the development and execution of experiments. Seminars will Globalized Political Economy (p. 37), Kim Christensen incorporate discussion, exploratory, and problem-solving Economics activities. In addition, the class will meet weekly to Introduction to Economic Theory and Policy (p. 38), Kim conduct laboratory work. Calculus is not a requirement for Christensen Economics this course. Students should have had at least one What is Money? Economic and Legal Perspectives (p. 38), semester of physics (mechanics). Jamee Moudud Economics Political Economy of Global Climate Change (p. 38), An Li Economics Courses offered in related disciplines this year are listed Environmental and Ecological Economics: Theories and below. Full descriptions of the courses may be found under Policies (p. 38), An Li Economics the appropriate disciplines. Intermediate Microeconomics (p. 39), Jamee Moudud First-Year Studies: Chemistry for Contrarians: A Economics Nontraditional Science Course for Liberal Arts Political Economy of Environmental Justice (p. 39), An Li Students (p. 24), Colin Abernethy Chemistry Economics General Chemistry I (p. 25), Colin Abernethy Chemistry Political Economy of Cities (p. 39), An Li Economics General Chemistry II (p. 25), Colin Abernethy Chemistry The Environmental Imagination: Perspectives From the Green Infrastructure (p. 40), Bernice Rosenzweig Social Sciences, Environmental Humanities, and the Environmental Science Arts (p. 42), Charles Zerner Environmental Studies An Introduction to Statistical Methods and Analysis (p. 97), Food, Agriculture, Environment, and Development (p. 61), Daniel King Mathematics Joshua Muldavin Geography Calculus I: The Study of Motion and Change (p. 98), Philip Introduction to Development Studies: The Political Ecology Ording, Erin Carmody Mathematics of Development (p. 62), Joshua Muldavin Geography Calculus II: Further Study of Motion and Change (p. 98), The Rise of the New Right in the United States (p. 62), Erin Carmody Mathematics Joshua Muldavin Geography Multivariable Mathematics: Linear Algebra, Vector Beginning Greek (p. 65), Emily Anhalt Greek (Ancient) Calculus, and Differential Equations (p. 98), Daniel The Strange Career of the Jim Crow North: African King Mathematics American Urban History Since the Atlantic Slave Mathematics in Theory and Practice: Real Analysis and Trade (p. 70), Komozi Woodard History Topology (p. 98), Philip Ording Mathematics Class, Race, Gender, Work: Readings in US Labor First-Year Studies: The Senses: Art and Science (p. 125), History (p. 70), Priscilla Murolo History Elizabeth Johnston Psychology Nationalism (p. 71), Matthew Ellis History Theories of Agency and Action in Science Studies (p. 143), Liberations: Contemporary Latin America (p. 73), Margarita Adrianna Munson Sociology Fajardo History Intermediate Latin (p. 82), Emily Anhalt Latin Can This Republic Be Saved? Cautionary Evidence From Ancient Rome (p. 88), Emily Anhalt Literature An Introduction to Statistical Methods and Analysis (p. 97), Daniel King Mathematics The Music of Russia (p. 103), Martin Goldray Music THE CURRICULUM 119 Introduction to International Relations (p. 119), Yekaterina Marxism); concepts (e.g., the state, anarchy, sovereignty, Oziashvili Politics balance of power, dependency, hegemony, and world International Politics and Ethnic Conflict (p. 120), order); and levels of analysis (systemic, state, Yekaterina Oziashvili Politics organizational, and individual) in the field. Then, we will Polarization (p. 122), Samuel Abrams Politics apply those various theoretical approaches and levels of First-Year Studies: Borders, Nations, and Mobilities: A analysis to current international conflicts and crises in Sociological Introduction (p. 142), Parthiban order to better understand the many ongoing debates Muniandy Sociology about war and peace, humanitarian interventions, Theories of Agency and Action in Science Studies (p. 143), international institutions, and the international political Adrianna Munson Sociology economy. Some of the questions that we will explore Both Public and Private: The Social Construction of Family include: Why do states go to war? Why do some Life (p. 143), Shahnaz Rouse Sociology humanitarian interventions succeed while others fail or Bad Neighbors: Sociology of Difference, Diversity, and simply never materialize? Why are some regions and Cosmopolitanism in the City (p. 143), Parthiban states rich while others are poor, and how do those Muniandy Sociology inequalities shape international relations? How do The Sociology of Sports (p. 144), Shahnaz Rouse Sociology international organizations help to reinforce or moderate Measuring Difference: Constructing Race, Gender, and existing interstate political and economic inequalities? Ability (p. 144), Adrianna Munson Sociology Lineages of Utopia (p. 144), Shahnaz Rouse Sociology Big, Deep, and New: Recent Works in Ecopoetry (p. 182), Marie Howe Writing Moral and Political Philosophy POLITICS David Peritz Advanced, Seminar—Year | 10 credits The study of politics at Sarah Lawrence College While important trends in contemporary culture and encompasses past and present thinking, political and politics seem to promise not only “the death of interdisciplinary influences, and theoretical and hands-on philosophy” but also the arrival of a “post-truth epoch,” learning. The goal: a deep understanding of the political the oldest discipline itself seems not to have gotten the forces that shape society. How is power structured and memo. Instead, the last 50 years witnessed a blossoming exercised? What can be accomplished through well- of original, important, exciting, and genuinely new work in ordered institutions? And how do conditions that produce systematic philosophy. Spanning different traditions freedom compare with those that contribute to tyranny? (analytic and continental) and locations (Anglo-American, Questions such as these serve as springboards for German, French, Italian, postcolonial, etc.), the stimulating inquiry. reemergence of systematic philosophy revisits many of the most important questions that occupied the grand Rather than limit ourselves to the main subdisciplines of tradition for much of the last 2,500 years. What matters in political science, we create seminars around today’s life? What do we owe to each other? What do we mean by issues—such as feminism, international justice, the truth? In what does human agency consist? Does immigration, and poverty—and analyze those issues human morality stem primarily from reason or emotion through the lens of past philosophies and events. We don’t —or their combined operation? What is the nature of stop at artificial boundaries. Our courses often draw from justice? Is it always wrong to lie? Can all aspects of human other disciplines or texts, especially when looking at experience be accounted for in terms of biological complex situations. Because we see an important processes, or do some escape reductive scientific connection between political thought and political action, explanation? At the same time, new issues of race, gender, we encourage students to participate in service learning. identity, and, ultimately, the claim to universal knowledge This engagement helps them apply and augment their and authority made on behalf of philosophy itself have studies and leads many toward politically active roles in been added to the range of traditional issues addressed by the United States and around the world. contemporary philosophers. This course is for anyone interested in coming up to speed with important Introduction to International developments in recent philosophy and will focus on the Relations big ideas from some of the most important recent Yekaterina Oziashvili thinkers. In it, we will not only survey some of the most Open, Lecture—Fall | 5 credits important and challenging works in contemporary War made the state, and the state made war. —Charles philosophy but also put these thinkers in dialogue with Tilly This course will take a critical approach to the study each other, testing the insights that they generate and also of international relations. First, we will study the main the blind spots that they produce by comparing them with theories (e.g., realism, liberalism, constructivism, and one another. The first half of this yearlong course 120 Politics considers several of the most important critical emotionally charged debates. This course will investigate philosophers of the last third of the 20th century, while the use of violence by both state and nonstate actors to the second half concentrates on thinkers whose works and assert their authority and to inspire fear. The modern ideas gained prominence primarily in the first decades of state, as it was formed in Western Europe, was born of 21st-century philosophy. This is an advanced and war. In Charles Tilly’s often-quoted phrase: “War makes demanding course. Prior experience in philosophy or a states, and states make war,” the ability to control violence kindred discipline is required. within a territory has long been a key part of the definition of a functioning state. The presence of armed groups on a African States in the International state’s territory, which the state does not or cannot effectively control, is therefore a direct challenge to a System: Imperialism, Resistance, state’s authority and has the potential to undermine its Development, Intervention recognition as an international actor. After briefly Elke Zuern discussing the historical development of modern states, Open, Seminar—Fall | 5 credits we will investigate the evolution of the terminology of This course will engage key questions in international terror and terrorism from the French Revolution to the relations, development studies, and politics from the present. We will explore acts of state terror and their perspectives and experiences of African states and consequences and consider the use of the term societies. We will begin with the African continent’s ”terrorism” in the popular press, in political rhetoric, and in introduction to international politics and economics policy-making by states and international organizations. through trade in goods and slaves to imperialism and We will investigate a number of nonstate actors that have colonialism. We ask not just what Europeans wanted but employed violence—including South Africa’s ANC, Sri also how Africans responded and resisted. We will also Lanka’s LTTE, ISIS, and white nationalists in the United investigate present-day campaigns to address colonial-era States, among others—and consider the impact that human-rights violations. With the end of colonial rule, violence had both for their popular support and for local independent African states became full, but subordinate, and transnational communities. As part of our discussion members of the international system. As the Cold War of US foreign policy, the class will conduct one Model reached new heights, states were pressed to choose Diplomacy simulation in which students will assume the between capitalism and communism, to ally with the West roles of the various members of the US National Security or the Soviet Union. We will explore the forms of economic Council. and political development that states and social actors pursued. What sorts of aid did they receive? What International Politics and Ethnic conditions were attached to that aid? What room was there for democracy? What role did institutions like the Conflict World Bank play in aggravating or alleviating conditions of Yekaterina Oziashvili poverty? We will bring our discussion of international aid Open, Seminar—Spring | 5 credits and development up to the present by discussing China’s Writing about the democratic transitions and ethnic dramatically expanded role on the continent, providing conflicts that followed the breakup of the Soviet Union in loans, building infrastructure, and engaging in trade. We 1991, Holocaust survivor and writer Elie Wiesel will conclude the fall semester by considering the extent pessimistically declared in his 2002 novel, The Judges, to which China presents a different model of development that “the malevolent ghosts of hatred are resurgent with a and international politics or just an updated version of fury and a boldness that are as astounding as they are earlier models. nauseating: ethnic conflicts, religious riots, anti-Semitic incidents here, there, and everywhere. What is wrong with these morally degenerate people that they abuse their State Terror and Terrorism: The freedom, so recently won?” Although written from a Radicalization of Contention perspective of moral outrage, one would be hard-pressed Elke Zuern to find a quote that more accurately illuminates both the Intermediate/Advanced, Seminar—Fall | 5 credits sense of severity associated with ethnic conflict, broadly The events of September 11, 2001, unleashed a bitter and defined, and the absolute lack of understanding of its contentious debate regarding not just how states and causes. Indeed, the end of the Cold War was seen by many societies might best respond to the threat of violence but conservative and liberal thinkers as “the end of history” also, fundamentally, what qualifies as terrorism. Just nine and the beginning of a steady march toward global days later, and without resolving any of those difficult political stability and peace. Yet, despite an explosion in issues, the United States announced its response: The the number of electoral democracies, the frequency and Global War on Terrorism. Two decades later, we are no intensity of bloody and brutal scenes of ethnic violence closer to consensus concerning those politically and seemed to belie all expectations. The proliferation of such THE CURRICULUM 121 violence over the last 30 years has thus caused many journalism. Did journalists, in turn, perpetuate that scholars and policymakers to more critically examine their language and, in fact, foster it, whether wittingly or assumptions about the sources and potential solutions to passively? Did the media help sustain overt and systemic the problem of ethnic conflict as an international problem. racism, even as many covered—with obvious Despite significant evidence to the contrary, approval—things like the civil rights movement of the commentators like Wiesel and even many politicians still 1960s and the Black Lives Matter movement of today? frequently attribute the sources of such strife to the Most American news organizations have stopped using existence of “morally degenerate people,” ethnic diversity, the overt language of racism, although new descriptions or the history of animosity between various ethnic are just as bad in some cases. But beyond that, is there an communities. Looking at the problem from a more holistic inherent racism of language? Has modern English, for our perspective—which engages with the economic, cultural, purposes as used in the media, been another lever of and political motivations underlying ethnic conflict—this systemic racism? How do news reporters navigate the course will challenge those commonly held assumptions current world of propaganda and disinformation in which about the cause of ethnic violence and explore some truth is said to have no value? Readings for this class will possible solutions for preventing further conflicts or primarily be original news and opinion content from the resolving existing ones. Some of the questions that this late 19th century until today. We will analyze the structure course will address include: What are the main sources and nature of media coverage using specific events: the behind political conflicts deemed “ethnic”? How and for racist massacre in Tulsa; lynching and Jim Crow; the what purposes are race and ethnicity constructed? What police-instigated violence in Watts in the 1960s, 1970s, is the role of the international community in managing and 1990s; the FBI’s Cointelpro attack on the Black ethnic conflicts? What is the effect of democratization on Panther Party; Black Lives Matter protests; the war in territorial integrity and political conflict between Vietnam; football players and other athletes ethnically divided communities? What constitutional demonstrating for equal rights; and others. The seminar designs, state structures, and electoral systems are most will conclude with each student teaching his/her research compatible with ethnically divided societies? project to the class, using the framework of our work together during the semester. Racism and the Media in America Andrew Rosenthal The Politics of Addressing the Past: Open, Seminar—Spring | 5 credits Apology, Repatriation, Reparation, There was a reason why Edmund Burke famously called Remembrance the press “the Fourth Estate” of government during a Elke Zuern debate in Parliament in 1787 and why it remains true. For Open, Seminar—Spring | 5 credits all of its self-proclaimed and often real independence, the This course will investigate how states and societies press is as much a part of the power systems that run address the past from officialor f getting to remembrance, society, politics, and the economy as the executive, the apology, repatriation, and reparation. What is the best legislature, and the judiciary; political and social course of action in the aftermath of gross violations of organizations; churches and corporations. With that in human rights? Which responses are feasible in a mind, this course will examine the role of the press (now particular context, and how might this shift over time? newspapers, radio, TV, and an endless array of digital What impact might apologies have? Why have reparations outlets) in the creation and perpetuation of anti-Black been won in some cases but not others? Our discussions racism in the United States. Even with the most well- will consider the needs of victims, as well as the interests meaning attempts to stay above the fray, the media is not of states and the possible contradictions between the two. merely a passive pipeline for events and data. It constructs We will focus on the role of power in the international the news and, in doing so, is as much a part of the system and international law, as well as the ways in which institutions of racism as any other group with power and seemingly less powerful groups have engaged and privilege in a racist society. We look at the flow of challenged prominent international actors. Case studies American history and its constant current of anti-Black will include, but are not limited to, Native American racism, from the pre-Civil War to the present day, through demands for the repatriation of remains, Jewish struggles the prism of the nation’s evolving news media. How does for restitution in the aftermath of The Holocaust, the media reflect the social, economic, and political Japanese-American demands for redress, postcolonial currents of the day? And how, in turn, does the media demands for reparations from former colonizing states, influence them? This is not a practicum class in and Black reparations in the United States. We will also journalism; but we will ask questions about journalistic consider the role of narratives and memorials in expanding practices, institutions, and language structure to see how the language and agenda of racism were reflected in 122 Politics the discussion concerning reparations for slavery and the Courses offered in related disciplines this year are listed ways in which demands for justice gain traction among the below. Full descriptions of the courses may be found under general public. the appropriate disciplines. Faking Families (p. 8), Mary A. Porter Anthropology Polarization Global Modernism, Internationalism, and the Cold War: Samuel Abrams 1930s, 1960s, 1990s (p. 13), Gemma Sharpe Art Advanced, Seminar—Spring | 5 credits History Despite frequent pleas from President Biden for national First-Year Studies: Working USA: American Workers in the social and political unity and the rise of groups like Bridge Globalized Political Economy (p. 37), Kim Christensen USA and No Labels, the seemingly never-ending Economics sociopolitical polarization appears to be the new norm in Introduction to Economic Theory and Policy (p. 38), Kim American political life—which reached a violence peak in Christensen Economics January 2021. To many politicians, pundits, and people What is Money? Economic and Legal Perspectives (p. 38), alike, the social and political scene in the United States in Jamee Moudud Economics the 21st century appears to be one of turmoil, Political Economy of Global Climate Change (p. 38), An Li disagreement, division, and instability. We regularly hear Economics about a polarized and deadlocked political class; we read Environmental and Ecological Economics: Theories and about increasing class and religious differences—from the Policies (p. 38), An Li Economics alleged divides between Wall Street and Main Street to Intermediate Microeconomics (p. 39), Jamee Moudud those who are secular and those who are religious; and we Economics often see disturbing, dangerous, and violent images and Political Economy of Environmental Justice (p. 39), An Li actions from various politically-oriented groups. This Economics seminar will explore the puzzle of how to move on from Political Economy of Cities (p. 39), An Li Economics this divided state. While the course will briefly examine the The Environmental Imagination: Perspectives From the veracity of these recent impressions of the American Social Sciences, Environmental Humanities, and the sociopolitical scene, we will center our course on the Arts (p. 42), Charles Zerner Environmental Studies question: Is policymaking forever deadlocked, or can real Intermediate French I (Section I): Contemporary French political progress be made? Moreover, what are the social and Francophone Culture (p. 57), Eric Leveau French and policy implications of polarization? How does Food, Agriculture, Environment, and Development (p. 61), President Biden govern in this Trumpian political epoch, Joshua Muldavin Geography and are the political parties representing the will of the Introduction to Development Studies: The Political Ecology people? What about the 2022 elections? What are we to of Development (p. 62), Joshua Muldavin Geography make of the frequent calls for change and for healing The Rise of the New Right in the United States (p. 62), America’s divisions? This seminar seeks to examine these Joshua Muldavin Geography questions and deeper aspects of American political Beginning Greek (p. 65), Emily Anhalt Greek (Ancient) culture today. After reviewing some basics of the political Becoming Modern: Europe From 1760 to 1914 (p. 68), Philip economy, we will study American political cultures from a Swoboda History variety of vantage points—and a number of different European Imperialism: Violence, Knowledge, and Migration stories will emerge. We will cover a lot of ground—from Since the 19th century (p. 68), Philipp Nielsen History America’s founding to today. We will look at numerous International Law (p. 69), Mark R. Shulman History aspects of American social and political life—from Human Rights (p. 69), Mark R. Shulman History examining the masses, political elites, Congress, and The Emergence of the Modern Middle East (p. 69), policy-making communities to social movements, the Matthew Ellis History media, and America’s position in a global community—all Nationalism (p. 71), Matthew Ellis History with a focus on policy and moving the country forward. Being Totalitarian: Making Hitler’s Germany, Mussolini’s This course will be driven by data, not dogma. We will use Italy, and Stalin’s Soviet Union (p. 73), Philipp Nielsen modern political economy approaches based in logic and History evidence to find answers to contemporary public policy Liberations: Contemporary Latin America (p. 73), Margarita problems and questions of polarization. We will treat this Fajardo History material as social scientists—not as ideologues. Decolonization and the End of Empire (p. 75), Matthew Ellis Prerequisite: Prior course work in American history and the History social sciences Nazis on Screen: The Third Reich in Film, From The Great Dictator to Inglorious Basterds (p. 76), Philipp Nielsen History THE CURRICULUM 123 Beginning Italian: Viaggio in Italia (p. 80), Tristana PRACTICUM Rorandelli Italian Intermediate Italian: Modern Italian Culture and A practicum is an opportunity for students to integrate on- Literature (p. 80), Tristana Rorandelli Italian site work with class time for interdisciplinary connections Intermediate Latin (p. 82), Emily Anhalt Latin and reflection. A practicum includes placement at an Studies in Ecocriticism: The Idea of Nature in the Western outside organization, along with an academic component Tradition (p. 87), Eric Leveau Literature that involves regular meetings with faculty members and Milton, Blake, and the Bible (p. 87), William Shullenberger staff members, and culminates in a final reflective paper Literature and presentation and, in some situations, participation in Can This Republic Be Saved? Cautionary Evidence From the College poster session. Ancient Rome (p. 88), Emily Anhalt Literature Literature in Translation: 20th-Century Italian Literature Foundations in Workplace Culture and Culture (p. 91), Tristana Rorandelli Literature Conscience of the Nations: Classics of African and Well-Being Literature (p. 92), William Shullenberger Literature Meghan Jablonski An Introduction to Statistical Methods and Analysis (p. 97), Sophomore and Above, Practicum—Fall | 5 credits | Hybrid Daniel King Mathematics Remote/In-Person The Music of Russia (p. 103), Martin Goldray Music Second-, third-, and fourth-year students who will be Existentialism (p. 113), Roy Ben-Shai Philosophy completing an internship placement in fall 2021 are Critical Race Theory: Philosophical Perspectives (p. 113), eligible to take this practicum-based course, offered in Carmen De Schryver Philosophy collaboration with SLC Career Services. The aim of the Women Philosophers in the 20th and 21st course is to help support students in making the transition Centuries (p. 113), Roy Ben-Shai Philosophy from college life to work experience in their chosen Big, Deep, and New: Recent Works in Moral and Political field—bridging the space between academic learning and Philosophy (p. 114), David Peritz Philosophy engagement in a work setting. Over the semester, students Decolonizing Philosophy (p. 114), Carmen De Schryver will develop an academic understanding of relevant Philosophy concepts based in industrial-organizational and positive Being and Time (p. 115), Roy Ben-Shai Philosophy psychology. Students will be invited to integrate their From Secure Communities to the DREAM Act: Critical internship experiences through class discussion, Themes and Reflections in Immigration Policy, the experiential activities, collaborative group work, and Livelihoods of Migrants, and Societal observation journals. The goal is for students to gain an Inequality (p. 135), Luisa Laura Heredia Public Policy academic and experiential understanding of key concepts, Beginning Russian (p. 140), Melissa Frazier Russian which students may apply to help promote a successful Intermediate Russian (p. 141), Natalia Dizenko Russian work-life balance this semester and beyond. Topics that First-Year Studies: Borders, Nations, and Mobilities: A are generally applicable to workplace culture and work-life Sociological Introduction (p. 142), Parthiban balance will be addressed. Class reading assignments will Muniandy Sociology include academic literature in industrial-organizational Theories of Agency and Action in Science Studies (p. 143), psychology, positive psychology, and related fields, as well Adrianna Munson Sociology as relevant popular media. Topics will include workplace Sociology of Global Inequalities (p. 143), Parthiban communication, diversity and inclusion, professional Muniandy Sociology networking, job crafting, stress management, work-life Both Public and Private: The Social Construction of Family balance, and ways of supporting well-being. Classes will Life (p. 143), Shahnaz Rouse Sociology include discussions based on assigned reading and Bad Neighbors: Sociology of Difference, Diversity, and internship observations, experiential activities related to Cosmopolitanism in the City (p. 143), Parthiban class topics (e.g., communication, networking, Muniandy Sociology meditation), Career Service workshops, and a recent The Sociology of Sports (p. 144), Shahnaz Rouse Sociology alumni panel. Students who have already completed Measuring Difference: Constructing Race, Gender, and Foundations in Workplace Culture and Well-being (for 3 or Ability (p. 144), Adrianna Munson Sociology 5 credits) and are completing a new internship may enroll Lineages of Utopia (p. 144), Shahnaz Rouse Sociology in this course for a second time (for 3 or 5 credits), with an Nonfiction Workshop: Cultural Criticism (p. 179), Cynthia emphasis on further developing leadership and Cruz Writing mentorship skills. Returning students will attend the same class meetings as first time students; however, reading and class assignments will focus on early career supervision, mentorship, and leadership roles. An offer letter for your placement must be secured and submitted 124 Psychology to Career Services prior to registering for this course; your placement must be secured prior to registering for this placement should begin no later than the end of the add/ course; your placement should begin no later than the end drop period. Internships may be in any field and must be of the add/drop period. This class meets once weekly in approved by SLC Career Services prior to registering for the evening and may include periodic conference meetings this course. This class meets once weekly in the evening and/or Career Service consultations. Students are and may include periodic conference meetings and/or expected to attend weekly class meetings in addition to Career Service consultations. Students are expected to regularly attending their internship placements. This attend weekly class meetings in addition to regularly course may be taken for three or five credits, which must attending their internship placements. This course may be be selected during registration; any credit changes must be taken for three or five credits, which must be selected made prior to the end of the add/drop period. during registration; any credit changes must be made prior to the end of the add/drop period. SLCeeds: Idea Launch Roger Osorio Building a Professional Identity Open, Practicum—Spring | 5 credits | Hybrid Remote/In- Meghan Jablonski Person Sophomore and Above, Practicum—Spring | 5 credits | This course experience teaches students the process for Hybrid Remote/In-Person taking any idea from concept to creation and the Second-, third-, and fourth-year students who will be strategies for executing that work effectively and completing an internship placement during the spring efficiently. All students will engage in the process within 2022 semester are eligible to take this practicum-based the context of ideas developed by the students. By course, offered in collaboration with SLC Career Services. combining theory with practice, students will have the The aim of this course is to help support students in opportunity to experience a full process cycle so that they making the transition from college life to work experience can begin the journey to mastering these skills. in their chosen field following the COVID-19 pandemic. Assignments will track the various steps of the process, The course will include mid-semester workshops on culminating in a final paper and presentation to a panel of communication and networking, plus an end-of-semester alumni judges. alumni panel based on students’ interests. Over the semester, students will explore the process of building a Courses offered in related disciplines this year are listed professional identity during a time of remote work and below. Full descriptions of the courses may be found under uncertainty. Weekly reading will include topics in the appropriate disciplines. psychology and related fields. Topics will include building a professional identity, early supervisory skills, diversity Advanced Collective in Animation or Experimental equity and inclusion, workplace communication, imposter Media (p. 50), Scott Duce, Robin Starbuck syndrome, professional networking, stress management, Filmmaking and Moving Image Arts work-life balance, and ways of supporting well-being. Concept Art: Visual Development (p. 51), Scott Duce Classes will include discussions based on assigned Filmmaking and Moving Image Arts reading and internship observations and experiential An Introduction to Statistical Methods and Analysis (p. 97), activities related to class topics (e.g., communication, Daniel King Mathematics networking, meditation). Students will be invited to Urban Health (p. 130), Linwood J. Lewis Psychology integrate their internship experiences through class discussion, experiential activities, collaborative group PSYCHOLOGY work, and observation journals. The goal is for students to gain an academic and experiential understanding of key How do infants navigate their world? How do factors as concepts, which students may apply this semester and diverse as genetics, socioeconomic status, social beyond. Students who have already completed Building a networks, mindfulness practices, and access to open Professional Identity (for three or five credits) and are spaces contribute to how people cope with the problems completing a new internship may enroll in this course for a of living? How do technology, architecture, language, and second time (for three or five credits), with an emphasis cultural practices affect how we think? What accounts for on further developing leadership and mentorship skills. the global epidemic of mental health issues? What has Returning students will attend the same class meetings as psychology contributed to understanding genocide and first-time students; however, reading and class torture? In what ways can psychologists illuminate the assignments will focus on early career supervision, mystery of the creative process in science and art? How mentorship, and leadership roles. Internships may be in does morality develop? What factors determine our any field and must be approved by SLC Career Services political, economic, and moral decisions? What happens in prior to registering for this course. An offer letter for your mind and body as we experience emotions? These reflect THE CURRICULUM 125 just a few of the questions discussed in our psychology First-Year Studies: The Senses: Art courses, a sampling of the broad range covered in the and Science psychology curriculum. Elizabeth Johnston We offer courses from the domains of biological, clinical, Open, FYS—Year | 10 credits cognitive, community, cultural, developmental, The perceiving mind is an incarnated mind. —Maurice educational, experimental, health, personality, and social Merleau-Ponty, 1964 Sensory perception is a vital psychology. Our courses emphasize the interplay of theory component of the creation and experience of artistic and observation, research and analysis, understanding works of all types. Investigation of sensory systems has and applications. Our courses are also inherently been foundational for psychologists and neuroscientists interdisciplinary, making connections between psychology developing understanding of brains, minds, and bodies. and other fields such as biology, anthropology, education, Recent work in brain science has moved us beyond the linguistics, public policy, public health, women’s studies, Aristotelian notion of five discrete senses to a view of the philosophy, and the arts. Students have a variety of senses as more various and interconnected—with each choices as they design their independent conference work. other and with the fundamental psychological categories of perception, attention, emotion, memory, imagination, Some conference projects consist of reviewing and and judgment. What we call “taste” is a multisensory analyzing the primary research literature on a topic of construction of “flavor” that relies heavily on smell, vision, interest. Others make experiential learning central to the and touch (mouth feel); “vision” refers to a set of semi- independent work. We will offer these as they become independent streams that specialize in the processing of available over the course of the 2021-2022 academic color, object identity, or spatial layout and movement; year. Opportunities open to students include: assisting at “touch” encompasses a complex system of responses to our Early Childhood Center, in local schools, or at clinics; different types of contact with the largest sensory planning and carrying out original research in one of three organ—the skin; and “hearing” includes aspects of psychology lab spaces on campus (the Child Study Lab, perception that are thought to be quintessentially the Cognition and Emotion Lab, and the Adult human—music and language. Many other sensations are Experimental Psychology Lab); working with community not covered by the standard five: for example, the senses organizations in Yonkers, New York; and participating in of balance, of body position (proprioception) and environmental education at our Center for the Urban River ownership, feelings of pain arising from within the body, at Beczak (CURB). Psychology is also a core component of and feelings of heat or cold. Perceptual psychologists have two focused, semester-long, community-based academic suggested that the total count is closer to 17 than five. We programs: the Intensive Semester in Yonkers and Sarah will investigate all of these senses, their interactions with Lawrence College’s Study Abroad Program in Sub-Saharan each other, and their intimate relationships with human Africa. emotion, memory, and imagination. Some of the questions that we will address are: Why are smells such potent Ideas and skills developed in class and in conference often memory triggers? What can visual art tell us about how play a formative role in the intellectual and professional the brain works and vice versa? Why is a caregiver’s touch trajectories of students who go on to pursue these ideas in so vital for psychological development? Why do foods that a wide range of fields, including clinical and research taste sublime to some people evoke feelings of disgust in psychology, education, medicine, law, the arts, social work, others? Do humans have a poor sense of smell (and have human rights, and politics. Our alums tell us that the the effects of COVID-19 changed our views of its seminar and independent conference work here prepared importance)? Why does the word “feeling” refer to both them well for the challenges of both graduate school and bodily sensations and emotions? What makes a song their careers. “catchy” or “sticky”? Can humans learn to echolocate like bats? What is the role of body perception in mindfulness The college has two psychology-related graduate meditation? This is a good course for artists who like to programs: Art of Teaching and Child Development. These think about science and for scientists with a feeling for art. offer the possibility for our undergraduate students to This is a collaborative course, with small-group meetings pursue both their bachelor’s and master’s degrees in five held weekly in addition to the individual conference years of study. The college also offers a dual-degree meetings held every other week. The main small-group, program with the New York University Silver School of collaborative activity is a sensory lab where students will Social Work, allowing Sarah Lawrence undergraduates to have the opportunity to explore their own sensory obtain a BA, a Master of Social Work, and an MA in Child perceptions in a systematic way, investigating how they Development in six years. relate to language, memory, and emotion. Other group 126 Psychology activities include mindful movement and other meditation Throughout the year, students will meet in biweekly practices for stress relief and emotional regulation, as well conferences with the instructor and weekly small-group as occasional museum visits if these can be done safely. “collaboratives” with their peers that will include creative group activities, writing workshops, book/journal clubs, First-Year Studies: The Realities of screenings, guest lectures, and hands-on labs. Groups Gina Philogene Developmental, Cognitive, Open, FYS—Year | 10 credits Neuroscience: Varying Perspectives One of the most important aspects of our lives is the web on the Mind of group affiliations in which we engage. Groups are an Katie Bainbridge inescapable aspect of our existence. From the very Open, Lecture—Fall | 5 credits beginning of one’s life, the idea of group pervades most This course will serve as a broad introduction to the topics dimensions of our existence—from family structures to of cognitive science, cognitive development, and cognitive nation states. Groups orient, guide, and shape individual neuroscience. Through the lenses of these three perceptions, interpretations, and actions in the social disciplinese, we will look at the same question: How do world. Several classic studies in social psychology have humans think? By the end of the course, you should have demonstrated that an individual is essentially, if not an appreciation for how these three approaches differ in entirely, a product of the various groups to which he or she methods, outlook, and conclusions about the nature of the belongs. This first-year seminar explores the defining human mind. characteristics of groups and the extent to which we are indeed shaped by our groups. We will focus, in particular, on three questions: How and why do individuals come to International Perspectives on form specific groups? What are the dynamics operating Psychology within the group, transforming it into a cohesive unit that Christopher Hoffman is more than the sum of its parts? Which processes rule Open, Lecture—Fall | 5 credits the interactions between groups; in particular, the “us” vs. What does psychology look like outside of the United “them” dimension? The first two questions will be the States? How does psychology operate across multiple objects of discussion during the first semester. In the cultures? In this course, we will attempt to answer these course of the second semester, we shall address the third questions as we explore multiple international question while also highlighting how the realities of groups perspectives of psychology. First, we will begin with an get transformed in the emerging cultural context of the examination of the history of psychology as a field. Next, internet and social media. we will grapple with arguments for and against international psychology. Our course will explore the First-Year Studies: Emotions and development of psychology in multiple parts of the world. Our readings will focus on tracing the roots of specific Decisions schools of psychology, such as liberation psychology and Maia Pujara South African psychology, and examining case studies in Open, FYS—Year | 10 credits India, Aotearoa/New Zealand, the former Soviet Union, So many of our decisions, big or small, are influenced by and El Salvador. Readings may include perspectives from our emotions—at times without our explicit knowledge or theorists such as Martin-Baro (liberation psychology), conscious awareness of their influence. Becoming aware Sunil Bhatia (decolonizing psychology), Frantz Fanon of our emotions and improving the quality of our emotions (postcolonial theory and psychology), and Lev Vygotsky (by increasing our overall well-being) may ultimately lead (cultural-historical psychology). Lastly, we will explore the to an improvement in the types of choices that we make on role of international organizations and mental health, such a daily basis. In this FYS, we will explore the relationship as the WHO and the UN. In conference work, students will between emotions and decisions. During the fall semester, be encouraged to explore international perspectives of we will read works in popular media, English literature, psychology beyond the examples discussed in class. This psychology, and behavioral economics to explore how course is open to students interested in psychology, emotions influence decisions in a variety of contexts, mental health, international relations, politics, regional including personal, social/sexual, forensic, financial, and studies, and anthropology. political realms. In the spring, we will approach the relationship between emotions and decisions by looking at the brain areas involved in generating, expressing, and regulating emotions and making decisions, along with the overlap of the brain’s involvement in those processes. THE CURRICULUM 127 Crossing Borders and Boundaries: alcohol) on sleep. We will further explore topics such as The Social Psychology of Immigration sleep routine; sleep environment; racial, socioeconomic, and gender inequities in sleep access; sleep in the digital Gina Philogene age (such as the impact of blue-light on circadian rhythms Open, Small Lecture—Fall | 5 credits and the influence of video games on dreaming); and the Immigration is a worldwide phenomenon, whereby people impact of the COVID-19 pandemic on sleep. Historical, move into another nation with the intention of making a developmental, neuropsychological, physiological, and better life for themselves and/or residing there cross-cultural perspectives on sleep and well-being will be temporarily or permanently. While anchored in a considered. This class will meet for one lecture section multidisciplinary perspective, this seminar explores the and one smaller seminar/conference section per week. crucial role of psychology in understanding the processes Conference work will be group-based and will include the associated with our conceptualizations of immigrants and opportunity to develop sleep strategies based on your immigration. The course begins with some theoretical group’s literature review and observations of your own perspectives on immigration, as well as a brief historical sleep patterns. overview of sociological and social psychological research on immigrants. We then examine the identity of the immigrant, stressing the profound distinctions between The Psychology and Neuroscience of forced and voluntary immigrants. We will analyze the Addictions processes through which “illegality” is constructed by David Sivesind reflecting on the lives of undocumented immigrants. We Open, Lecture—Spring | 5 credits will look at how the intersections of race, class, gender, This course is a multidisciplinary overview of addiction. sexuality, and culture shape the psychological experience Although the primary focus of the course is substance- of immigrants. Seeking to extend our analysis to related addictions and use, the emerging literature immigration’s impact on the host population, we conclude regarding nonsubstance addictive behaviors (food, the course by discussing several social psychological gambling, internet, gaming) will also be discussed. issues, such as intergroup relations, discrimination, and Explanations for addiction—spiritual, emotional, modes of adaptation. biological—have spanned the ages and remain controversial today. This course will explore the study of Sleep Health and Well-Being addiction from its historical roots to contemporary theory. Competing theories of substance abuse/addiction will be Meghan Jablonski examined, with a focus on the individual with regard to Open, Small Lecture—Spring | 5 credits cultural and societal concerns. This course presents a A key, and often-overlooked aspect of recharging is also framework for understanding models of substance use one of the most obvious: getting enough sleep. There is and addiction, including neuropsychological advances, nothing that negatively affects my productivity and with a critical review of the evidence and controversies efficiency more than lack of sleep. After years of burning regarding each. Students will be asked to think critically the candle on both ends, my eyes have been opened to the and constructively about the topic, eschewing dogma of value of getting some serious shuteye. —Arianna any one approach to the treatment and understanding of Huffington, Sarah Lawrence College Commencement substance abuse. Readings will include literature from Address, 2012 Though it is often marginalized in parts of psychology and medicine to the arts, ethics, and the press. contemporary culture, sleep makes much of waking life Adequate time will be spent introducing basic social and possible. While we might think of sleep as “down time,” our brain science as it pertains to later, more advanced sleeping mind is hard at work—consolidating new examinations of exciting neurological research. memories, processing emotions, making creative connections, and even preparing for the future. Our physical body is restored, and our immune system is Educational Psychology: What We strengthened. Sleep deprivation and disordered sleep can Know About learning, How We Know have a catastrophic impact on health and well-being. It, and What That Means for Teaching Supporting sleep health can have profound impact on productivity, cognitive functioning, mood, and creative Katie Bainbridge process. This mini-lecture will provide a basic overview of Open, Seminar—Fall | 5 credits current sleep science, including: the two-process model of This one-semester course will focus on what psychology sleep-wake regulation; functions of the sleep phase; can tell us about how we learn and, in turn, what those developmental sleep patterns; dreams and dreaming findings tell us about how to teach. The first half of the (including lucid dreaming); primary sleep disorders (such course will cover research from a learner’s perspective; as sleep apnea and narcolepsy); and the impact of anxiety, the second half of the course will cover research from a depression, and substance use (including caffeine and teacher’s perspective. Over the course of the class, you 128 Psychology will learn how to read primary-source research papers and may include field placement at the Early Childhood Center will exercise that knowledge on seminal research spanning or other venues, as interactions with real children will be the history of educational psychology from 1901 to today. encouraged. By the end of the course, you will be proficient in many theories of learning and instruction, including cognitive Childhood Across Cultures load theory, multimedia learning theory, and theories of motivation in learning. Other discussion topics will include Deanna Barenboim (but are not limited to): How do children of all ages learn Open, Seminar—Fall | 5 credits reading, writing, mathematics, and science? How does In this seminar, we will explore child and adolescent learning differ by age and by topic? Are learners passive development through a cross-cultural lens. Focusing on vesicles or active constructors of knowledge? What case studies from diverse communities around the world, teaching methods do we know to be effective? Is there we will look at the influence of cultural processes on how consensus among researchers about what is and is not children learn, play, and grow. Our core readings will effective? How do we know a student has learned, and how analyze psychological processes related to attachment do we measure “learning”? What are the barriers to and parenting, cognition and perception, social and incorporating evidence-based best practices into real emotional development, language acquisition, and moral classrooms? While the readings each week will be seminal development. We will ask questions like the following: Why papers in the field, I invite discussions to be critical of are children in Sri Lanka fed by hand by their mothers until these sources, to evaluate how generalizable or actionable middle childhood, and how does that shape their relations the findings are, to compare how research to others through the life course? How does an Inuit recommendations differ from your own experience in your toddler come to learn moral lessons through scripted play K-12 education, and to question whether the research with adults, and how does such learning prepare them to methods used capture the complexity of the experience of navigate a challenging social and geographic learning. By the end of the course, you should have a environment? Is it true that Maya children don’t do greater appreciation for the Sarah Lawrence system of pretend play at all? How does parental discipline shape learning and instruction from a pedagogical point of view. the expression of emotion for children in Morocco? How This is an open-level course and should be equally does a unique family role influence the formation of interesting whether this is your first psychology class or identity for Latinx youth in the United States? Adopting an whether you plan to pursue graduate school in this field. interdisciplinary approach, our course material will draw from developmental psychology, human development, cultural psychology, and psychological anthropology and Social Development will include peer-reviewed journal articles, books, and Carl Barenboim films that address core issues in a range of geographic and Open, Seminar—Fall | 5 credits | Remote sociocultural contexts. Students will conduct conference Some of the most interesting and most important pieces projects related to the central topics of our course and of knowledge that a child will ever learn are not taught in may opt to do fieldwork at the Early Childhood Center. school. So it is with the child’s social world. Unlike “reading, writing, and ’rithmetic,” there is no “Social Play and Imagination Thinking 101.” Further, by the time children reach school age, they have already spent years learning the “lessons of Anna Beresin life” and affecting those around them. This course will Open, Seminar—Fall | 5 credits | Remote explore the social world of the child from birth through Children’s play is considered the primary mode of adolescence, focusing upon three main areas: parent-child communication for all children. This course examines relations, gender-role development, and moral children’s embodied storytelling, imaginative drawings, development. Within parenting, we will examine issues toys, and free play, as children themselves rarely separate such as different parenting “styles,” the long-term play from the arts. A sophisticated set of processes often consequences of divorce, and the “hurrying” of children to trivialized, psychologist Brian Sutton-Smith states, “The achieve major milestones at ever-earlier ages. Within the flexibility of the imagination, of play, and of the playful is topic of sex-role development, we will read about the role the ultimate guarantor of our survival” (1997). Topics to be of powerful socialization forces, including the mass media, addressed include: play in the time of COVID, play and the socialization pressures that children place upon aggression and trauma, and access to play as a social- themselves and each other. Within moral development, we justice issue. The course may involve observational will study the growth of moral emotions such as empathy, fieldwork and online toy study, as we examine children’s shame, and guilt, along with the role of gender and culture opportunities for play, learning, and development. in shaping our sense of right and wrong. Conference work Students will read critical works in the psychology of play and recent cutting-edge, interdisciplinary research. There will be discussions, documentaries, and class THE CURRICULUM 129 presentations. Conference projects may relate to a important relationships, form communities, and create a literature review about a topic of interest, an original shared reality. Classes will be both discussion-based and study, and/or a creative piece reflecting course insights experiential, with opportunities for observation and in- and imaginings. class activities related to weekly topics. Class reading will include psychological perspectives on social media and Objects and Memory video games; gender, sexuality, and race in the digital age; developmental, neuropsychological, and clinical Emily C. Bloom psychology and related fields. Reading assignments will Open, Small seminar—Fall | 3 credits include both academic literature and relevant popular Why do we hold on to certain things and not others? Why media. Supplemental material will include films, TedTalks, do some objects have the power to evoke personal and podcasts. Conference projects may include a range of memories, while others leave us cold? Roland Barthes topics and may be completed in the form of an extended, described certain objects as having “punctum,” and Marie APA-style literature review or as an APA-style literature Kondo tells us that a select few “spark joy.” In this course, review along with a related podcast, fieldwork we will learn firsthand about the relationship between observations, and/or another original creative piece. objects and memory from residents and staff ta the Students who are interested in completing a semester- Wartburg Nursing Home by developing a multimedia long, weekly fieldwork placement in the SLC Early project called “A History of Wartburg in 100 Objects.” Childhood Center (ECC) as part of their conference work Students will work to pilot this project, partnering with (e.g. observing children in a screen-free environment over Wartburg to discover how objects can help unlock time) may have the opportunity to do so. NOTE: ECC memories. Working together, students in this course will fieldwork positions are limited due to COVID-19 create a bibliography of relevant texts on the topic of precautions. If you are interested in a potential ECC objects and memory, produce an oral history of an object placement, you will need to contact the ECC Director, with a partner at Wartburg, and contribute to the Lorayne Carbon, as soon as you are registered for this infrastructure of the larger project. While developing the class and prior to classes beginning. If you are able to project, we will read a selection of literary and theoretical secure an ECC fieldwork placement, please note that this works by Roland Barthes, Alice Walker, Virginia Woolf, and will be a semester-long commitment. You will be expected others to understand the role of objects in preserving, to attend your scheduled ECC placement for four hours accessing, and sharing memories. We will meet once a each week, work closely with your classroom teacher, and week to discuss course readings, connect with seniors and actively engage in your role as a classroom assistant. staff, and develop the multimedia project. The location of our meetings will alternate between our classroom on campus and meetings at Wartburg in Mount Vernon. This Psychocinematics: Film, Psychology, class will include a community-based component working and Neuroscience with an adult care community at Wartburg. This is a three Elizabeth Johnston credit, non-conference seminar class. Open, Small seminar—Fall | 5 credits Why are movies so compelling to us? When you think Virtually Yours: Relating and Reality about it, it is odd to spend so much time sitting still in a in the Digital Age chair, in the dark, staring at a flat screen and watching flickering light, without the possibility of interacting with Meghan Jablonski the depicted characters or affecting their actions in any Open, Seminar—Fall | 5 credits way. Philosophers posit that movies tap into our dream Over the past several years, digital spaces—such as social mechanisms. Psychologist Ed Tan calls films “emotion media, messaging apps, dating apps, and online machines.” Neuroscientist Jeffrey Zacks claims that communities—have transformed the ways in which we movies hijack evolutionary mechanisms of mind that experience ourselves and each other. As the COVID-19 evolved for other purposes. In this perceptual psychology pandemic sent much of daily life online, this process was course, our focus will be on how study of fundamental accelerated and amplified—providing the benefits of faculties of mind and body—perception, attention, connection for some, challenges for others, and emotion, and memory—can inform our experience of highlighting disparities in access for many. This semester, viewing and, perhaps, making movies. Switching point of we will discuss this impact and process the path forward view, we will also investigate how study of film can through emerging research and relevant observations. advance our understanding of the workings of perception, This seminar will consider how various digital platforms attention, emotion, and memory. We will watch some films (e.g., social media, gaming communities, dating apps, together and discuss examples from many others that you messaging and video chats, virtual reality) impact the select and present to the seminar group. This is a good ways in which people navigate identity, build and maintain 130 Psychology course for people who are interested in interdisciplinary Finding Happiness and Keeping It: work that integrates artistic and scientific approaches to Insights From Psychology and the material at hand. Neuroscience Maia Pujara Urban Health Open, Large seminar—Fall | 5 credits Linwood J. Lewis Happiness is more than a feeling; rather, it is a state of Open, Seminar—Fall | 5 credits well-being that should ideally last a lifetime. We all want This community partnership course will focus on the happy lives filled with meaning and satisfaction. Yet, for health of humans living within physical, social, and many of us, happiness can be hard to obtain with psychological urban spaces. We will use a constructivist, regularity or to sustain over a long period of time. Why is multidisciplinary, multilevel lens to examine the that? We can look to years of evidence from the fields of interrelationship between humans and the natural and psychology and neuroscience, which tell us that, on built environment, to explore the impact of social group average, we are mentally unprepared to: (1) predict what (ethnic, racial, sexuality/gender) membership on person/ will make us happy, and (2) engage in behaviors that are environment interactions, and to explore an overview of known to make us happier. Like exercising to improve theoretical and research issues in the psychological study physical health, it takes sustained cognitive effort to of health and illness across the lifespan. We will examine overcome those tendencies in order to improve our mental theoretical perspectives in the psychology of health, health. This course will cover the psychological and brain- health cognition, illness prevention, stress, and coping based factors for why happiness feels so fleeting and what with illness; and we will highlight research, methods, and we can do to build better and more productive habits that applied issues. This class is appropriate for those have been shown to lead to longer-term maintenance of a interested in a variety of health careers or anyone positive mood and well-being. Students will read interested in city life. The community-partnership/ foundational work in the field of positive psychology by service-learning component is an important part of this Martin Seligman, Sonja Lyubomirsky, Edward Diener, class. We will work with local agencies to promote health- Daniel Kahneman, and others. We will also discuss studies adaptive, person-environment interactions within our in neuroscience that show how behavioral interventions community. A background or interest in social sciences or like those and others work by altering the brain’s structure health professions is recommended. and function (just like building stronger muscles after exercising). Through weekly, small-group conferences, Food Environments, Health, and students will apply evidence-based practices, such as Social Justice bringing order and organization to their daily lives, expressing gratitude, and building social bonds (i.e., “cross Magdalena Ornstein-Sloan training” for the mind) in activities called “Re-wirements.” Open, Seminar—Fall | 5 credits For the final project, called “Unlearning Yourself,” students With a growing awareness of health disparities and will learn to undo or replace a negative habit (e.g., inequity in food access, researchers and policymakers are overspending, social-media use, poor sleep hygiene, rethinking the role of the environment in shaping our diets complaining, procrastinating) by establishing a plan to and health. This course takes a collaborative approach to introduce evidence-based practices for sustained well- investigating some of the key issues guiding this area of being in their daily lives. By the end of this course, research and action. Students will critically review students will have gained the ability to sift through the literature on food environments, food access, and health ever-booming literature on positive psychology and inequities and explore how modes of food production and neuroscience to identify the practices that work best for distribution shape patterns of food availability and them, as well as an appreciation for the notion that consumption in cities. Students will use photography and deriving and sustaining happiness and well-being requires video to examine foods available in the neighborhoods intentional practice and maintenance. where they live, review news articles and media related to the course themes, and reflect on the ways that their own eating habits are influenced by the social and material Mental Health and the Global settings of their day-to-day lives. The course concludes Pandemic with students writing letters to the editor/op-eds to a David Sivesind news outlet of their choice, with suggestions about how to Open, Seminar—Fall | 5 credits move forward with action to improve food access, public The COVID-19 pandemic and the related impact has health, and social justice in the places where they live. greatly affected many people’s mental health. The pandemic has widened already existing disparities in access to therapeutic services and supports. Therapy, THE CURRICULUM 131 schools, and work largely went virtual (yet, unequally). Theories of the Creative Process Systematic oppression was on full display, with an Charlotte L. Doyle outpouring of public action and unrest. The death toll Intermediate, Seminar—Fall | 5 credits mounted and, with it, many were personally affected by The creative process is paradoxical. It involves freedom the grief that ensued. Many of us have been glued to our and spontaneity yet requires expertise and hard work. The screens as much of this tragedy has unfolded, with creative process is self-expressive yet tends to unfold journalists, bloggers, and therapists writing poignantly most easily when the creator forgets about self. The about this last year of challenge, loss, and grief. This creative process brings joy yet is fraught with fear, course will explore the research in psychology regarding frustration, and even terror.The creative process is its own the above issues and questions. As 2021 advances to reward yet depends on social support and encouragement. 2022, academics and clinicians alike are starting to In this class, we look at how various thinkers conceptualize investigate and publish regarding these concerns, with the the creative process—chiefly in the arts but in other tools of research beyond individual observation. Students domains, as well. We see how various psychological in this course will undertake an in-depth exploration of theorists describe the process, its source, its motivation, this research as it is unfolding. its roots in a particular domain or skill, its cultural context, and its developmental history in the life of the individual. Immigration and Identity Among the thinkers that we will consider are Freud, Jung, Deanna Barenboim Arnheim, Franklin, and Gardner. Different theorists Sophomore and Above, Seminar—Fall | 5 credits emphasize different aspects of the process. In particular, This course asks how contemporary immigration shapes we see how some thinkers emphasize persistent work and individual and collective identity across the life course. expert knowledge as essential features while others Adopting an interdisciplinary approach that bridges cross- emphasize the need for the psychic freedom to “let it cultural psychology, human development, and happen” and speculate on what emerges when the psychological anthropology, we will ask how people’s creative person “lets go.” Still others identify cultural movement across borders and boundaries transforms context or biological factors as critical. To concretize their senses of self, as well as their interpersonal relations theoretical approaches, we look at how various ideas can and connections to community. We will analyze how the contribute to understanding specific creative people and experience of immigration is affected by the particular their work. In particular, we will consider works written by intersections of racial, ethnic, class, gender, generational, or about Picasso, Woolf, Welty, Darwin, and some and other boundaries that immigrants cross. For example, contemporary artists and writers. Though creativity is how do 1.5-generation undocumented youth navigate the most frequently explored in individuals, we also consider constraints imposed by “illegalized” identities, and how do group improvisation in music and theatre. Some past they come to construct new self-perceptions? How might conference projects have involved interviewing people immigrants acculturate or adapt to new environments, and engaged in creative work. Others consisted of library how does the process of moving from home or living “in studies centering on the life and work of a particular between” two or more places impact mental health? creative person. Some students chose to do fieldwork at Through our close readings and seminar discussions on the Early Childhood Center and focus on an aspect of this topic, we seek to understand how different forms of creative activity in young children. A background in power—implemented across realms, including state- college-level psychology, social science, or philosophy is sponsored surveillance and immigration enforcement, required. language and educational policy, health and social services—shape and constrain immigrants’ understanding Speaking the Unspeakable: Trauma, of their place in the world and their experience of Emotion, Cognition, and Language exclusion and belonging. In our exploration of identity, we will attend to the ways in which immigrants are left out of Emma Forrester national narratives, as well as the ways in which people Intermediate, Seminar—Fall | 5 credits who move across borders draw on cultural resources to Psychological trauma has been described as create spaces and practices of connection, protection, and unspeakable—so cognitively disorganizing and intense continuity despite the disruptive effects of immigration. In that it is difficulto t put the experience and the emotions it tandem with our readings, we will welcome scholar/ evokes into words. Yet, the language that survivors use to activist guest speakers, who will present their current describe their traumas provides insight into the impact of work in the field. trauma and the process of recovery. This course will begin with an overview of theories of trauma, resilience, and post-traumatic growth, as well as an introduction to the study of trauma narratives and how language reflects emotional and cognitive functioning. We will then explore 132 Psychology the cognitive, emotional, and biological impact of Perspectives on Child Development undergoing a trauma and how those changes are reflected Charlotte L. Doyle in the language that trauma survivors use as they speak Open, Seminar—Spring | 5 credits and write about their experiences. We will consider works A noted psychologist once said, “What you see depends on by experts on trauma and language, including Judith how you look.” Our subject is the worlds of childhood; and, Herman, Bessel van der Kolk, and James Pennebaker, as in this class, we try out the lenses of different well as current research in the field of trauma and trauma psychological theories to highlight different aspects of narratives. Through these readings, we will address topics those worlds. Freud, Erikson, Bowlby, and Stern provide such as what makes an experience traumatic, how differing perspectives on emotional development. Skinner, representations of trauma in popular culture color our Bandura, Piaget, and Vygotsky present various approaches perceptions of trauma and recovery, the role of resilience to the problems of learning and cognition. Chess and her and growth following a trauma, and what we can learn colleagues take up the issues of temperament and its from attending to the content and structure of language. interaction with experience. Chomsky and others deal with This course will be of interest to students who are curious the development of language. We will read the theorists about how the words that we use reflect our cognitive and closely for their answers but also for their questions, emotional functioning—and especially for students asking which aspects of childhood each theory throws into interested in pursuing topics such as these at an advanced focus. We will also examine some systematic studies that or graduate level. developmental psychologists have carried out to confirm, test, and critique various theories: studies of mother- Care Work infant relationships, the development of cognition and Emily C. Bloom language, and the emergence of intersubjectivity. In Open, Seminar—Spring | 5 credits several of these domains, studies done in cultures other What kind of work is care work? Is it a form of labor? Of than our own cast light on the question of universality love? Is caretaking a social or individual responsibility? versus cultural specificity in development. Direct And who pays for it? This course questions the role of observation is an important complement to theoretical caretaking in modern societies through a range of literary readings. All students will do fieldwork at the Early and sociological texts. We begin with the premise that Childhood Center or find some other opportunity for caretaking is both fundamental to a functioning society observing and interacting with children. As part of the and also grossly devalued. This devaluation is marked by seminar, we will at times draw on student observations to the poor pay associated with caretaking professions, as support or critique theoretical concepts. The fieldwork will well as the gendering and racializing of caretaking also provide the basis for developing conference work. responsibilities. This course will draw on recent writing in Ideally, conference projects combine the interests of the disability studies, gender studies, political theory, and student, some library reading, and some aspect of ethnic studies, as well as literary works such as Kazuo fieldwork observation. Among the many diverse projects Ishiguro’s Never Let Me Go and Marilynne Robinson’s students have designed in the past are topics such as Housekeeping, to consider the experience of both the children’s friendships, the meanings of block building, and individuals performing care work and those who require how young children use language. their care. We will discuss terms, like self-care and prenatal care, that have become commonplace but that we Doing Research With Young People often encounter as marketing concepts that have been Christopher Hoffman stripped of their origins. This course aims to situate the Open, Seminar—Spring | 5 credits concept of caring into historical, political, and aesthetic How is research conducted with young people? What are contexts. Reading work by Audre Lorde, Leah Lakshmi the ethical dilemmas when working with children, Piepzna-Samarasinha, Silvia Federici, and others, adolescents, and young adults? Instead of focusing on students are encouraged to imagine the future of care traditional research methods on subjects, this course will work in a changing society. This is a five-credit seminar explore the possibilities of conducting research with, or that includes a community-based component working alongside, young people. This is an interdisciplinary with an adult care community at Wartburg Nursing Home course, and our readings will be pulled from a variety of in Mount Vernon. As part of the course, you will partner disciplines, including psychology, sociology, history, with a senior at Wartburg to complete an oral history, anthropology, education, criminal justice, and critical podcast, and catalogue entry for a digital exhibition. childhood studies. First, we will examine the sociohistorical context of children, adolescents, and youth. Next, we will investigate the rights of young people and the policies that designate them as protected populations. This course will survey a number of different research THE CURRICULUM 133 methods with youth participants, including but not limited to the individual experience of our physical and social to interviews, mapping, narrative analysis, youth environments. As a survey course, we will cover myriad participatory action research, and visual and performative topics, which may include informal family caregiving, research. We will apply a critical eye to a number of case urban/rural/suburban relationships, gentrification, urban studies of young people dismantling systemic oppression planning, environmental sustainability, globalization, and and working toward racial, immigration, and social justice, as well as varying conceptualizations and environmental justice. Students will develop their own experiences of “home,” based on gender, race, class, and conference project, focusing on how to conduct research age and for people with disabilities. In light of the with young people. Fieldwork in partnership with the Early COVID-19 pandemic, we will give special consideration to Childhood Center or Community Partnerships is also public space and home environments. As a discussion- possible. based seminar, topics will ultimately be driven by student interest. Several films will be incorporated into class. Art and Visual Perception Elizabeth Johnston Emerging Adulthood Open, Large seminar—Spring | 5 credits Linwood J. Lewis Seeing comes before words. The child looks and recognizes Sophomore and Above, Seminar—Spring | 5 credits before it can speak. —John Berger Psychologists and We have time, energy, questions, and few responsibilities. neuroscientists have long been interested in measuring We want to push the envelope, resist compromise, lead and explaining the phenomena of visual perception. In this revolutions, and turn the world upside down. Because we course, we will study how the visual brain encodes basic do not yet know quite how to be, we have not settled and aspects of perception—such as color, form, depth, motion, will not let the dust settle around us. —Karlin & Borofsky, shape, and space—and how they are organized into 2003 Many traditional psychological theories of coherent percepts or gestalts. Our main goal will be to development posit a brief transition from adolescence to explore how the study of visual neuroscience and art can adulthood; however, many people moving into their 20s inform each other. One of our guides in these explorations experience anything but a brief transition to “feeling like will be the groundbreaking gestalt psychologist Rudolf an adult,” pondering questions such as: How many SLC Arnheim, who was a pioneer in the psychology of art. The alums can live in a Brooklyn sublet? What will I do when I more recent and equally innovative text by the finish the Peace Corps next year? In this course, we will neuroscientist Eric Kandel, Reductionism in Art and Brain explore the psychological literature concerning emerging Science, will provide our entry into the subject of adulthood, the period from the late teens through the 20s. neuroaesthetics. Throughout our visual journey, we will We will examine this period of life from a unified seek connections between perceptual phenomena and biopsychosocial and intersectional perspective. what is known about brain processing of visual information. This is a course for people who enjoy Moral Development reflecting on why we see things as we do. It should hold particular interest for students of the visual arts who are Carl Barenboim curious about scientific explanations of the phenomena Intermediate, Seminar—Spring | 5 credits | Remote that they explore in their art, as well as students of the For thousands of years, philosophers have struggled with brain who want to study an application of visual the questions surrounding the issue of morality. Over the neuroscience. In this large seminar, you will meet weekly past hundred years, psychologists have joined the fray. in small groups (five-to-seven students) to design a While many theories exist, a unifying theme centers upon collaborative conference work that curates an in-depth the notion that childhood is the crucible in which morality perceptual museum tour. Individual conference meetings is formed and forged. In this course, we will explore the will be held only twice over the course of the semester. major theories dealing with three aspects of the development of morality: moral thought, or reasoning (e.g., Piaget, Kohlberg); moral feelings (psychoanalytic Environmental Psychology: An approaches, including Freud, and the modern work on the Exploration of Space and Place importance of empathy and mirror neurons); and moral Magdalena Ornstein-Sloan actions, or behavior (behaviorism, social-learning theory). Open, Seminar—Spring | 5 credits In addition, we will investigate the possible relations This course explores human-environment interactions and among these three aspects of moral development. For the relationships between and among natural, social, and example: How is moral thought connected to moral action? built environments in shaping us as individuals. We will Throughout the course, we will relate moral development critically explore human interactions from the body, the theory to the results of research investigations into this home, and the local to the globalized world, with a return crucial aspect of child development. Conference work may include direct experience with children or adolescents in 134 Psychology the form of either detailed observations or direct Model (Thayer & Lane), among others. Through in-class interaction (interviews, etc.). Prerequisite: prior course in labs and conference work, students will learn how to psychology. measure the peripheral markers of arousal and relate those signals to emotionally provocative events and brain The Psychology of Social Influence activity. Toward the latter third of the class, students will be in charge of leading discussions around applications of Gina Philogene psychophysiology in social interactions, sleep and Intermediate, Seminar—Spring | 5 credits dreaming, decision-making and consumerism, Individuals are often influenced by others and by the social psychopathology (mental health), and social justice. situations in which they find themselves. Social influence Previous course work in biology and psychology is required, refers to the processes by which a person or group and a previous course in statistics is recommended but not changes, or attempts to change, the opinions, beliefs, and/ required. or behaviors of another person or group. This process can be either intentional or unintentional. In this seminar, we Courses offered in related disciplines this year are listed will examine the basic concepts, theories, and applications below. Full descriptions of the courses may be found under of social influence by reviewing four of its key areas: the appropriate disciplines. conformity, innovation, compliance, and obedience. Additionally, we will explore some related topics to Ethnographic Research and Writing (p. 7), Robert R. demonstrate the pervasive nature of social influence. The Desjarlais Anthropology topics to be addressed include attitude measurement and Childhood Across Cultures (p. 7), Deanna Barenboim attitude change, propaganda, cults, subliminal persuasion, Anthropology and the use and abuse of persuasion in our current social Telling Lives: Life History in Anthropology (p. 7), Mary A. context. The seminar will make use of case studies and Porter Anthropology situations in daily life to better illustrate how social Immigration and Identity (p. 7), Deanna Barenboim influence works. Anthropology Faking Families (p. 8), Mary A. Porter Anthropology The Mind-Body Connection: Children, Families, and Identity (p. 185), Denisha Jones Art Psychophysiology Research Seminar of Teaching Foundations of Education (p. 185), Denisha Jones Art of Maia Pujara Teaching Intermediate, Seminar—Spring | 5 credits Genetics (p. 21), Drew E. Cressman Biology Your heart beats faster, your palms sweat, and your pupils Neurological Disorders (p. 22), Cecilia Phillips Toro Biology dilate—all at once. Is this because you are exercising? Or Clinical Perspectives: Challenges to Child and Adolescent did someone you really like just enter the room? Development (p. 186), Deanna Barenboim Child Psychophysiology is the experimental study of these Development bodily, or peripheral, signals, which are theorized to be Artificial Intelligence and Society (p. 30), James Marshall important “read-outs” of a person’s emotional state (e.g., Computer Science fear, happiness, anger). In this course, students will gain a Psychopathology (p. 187), Alma Watkins Dance/Movement foundational understanding of the biological processes Therapy that give rise to peripheral autonomic arousal (e.g., heart Human Growth and Development (p. 187), Elise Risher rate, respiration, electrodermal activity to measure Dance/Movement Therapy sweating, pupillary responses, brain activity) and how The Environmental Imagination: Perspectives From the those responses are naturally regulated by the brain and Social Sciences, Environmental Humanities, and the body in a process called homeostasis. We will also survey Arts (p. 42), Charles Zerner Environmental Studies the brain areas that may be responsible for “catching,” or Media Lab: Youth Education and Community incorporating, signals from the periphery and ascribing Engagement (p. 51), Yeong Ran Kim Filmmaking and meaning to those signals, which can often happen much Moving Image Arts later than the time of the event that provoked those bodily Conscience of the Nations: Classics of African responses. We will focus on studies of individuals with Literature (p. 92), William Shullenberger Literature brain damage, specifically in brain areas such as the An Introduction to Statistical Methods and Analysis (p. 97), ventromedial prefrontal cortex (from work by Antonio Daniel King Mathematics Damasio and others) and the insula (from work by Sahib The Philosophy of Music (p. 102), Martin Goldray Music Khalsa and others). In so doing, we will discuss major Buddhist Meditation (p. 139), Griffithoulk F Religion theories of emotion and the mind-body connection, Theories of Agency and Action in Science Studies (p. 143), including the James-Lange Theory, the Somatic Marker Adrianna Munson Sociology Hypothesis (Damasio), and the Neurovisceral Integration THE CURRICULUM 135 Site/Situation (p. 168), Gabriela Salazar Visual and Studio of immigration policymaking at multiple scales and in Arts multiple arenas. We will also center the contemporary First-Year Studies: Two Lenses on Writing (p. 174), Myra moment by exploring the policies of the Biden/Harris Goldberg Writing administration and situating these within broader trajectories of policymaking. Finally, students will PUBLIC POLICY contribute to ongoing debates by reflecting on where we are and what we can we do to create a better system and a Sarah Lawrence College’s public-policy program more equitable society. addresses the most pressing public-policy issues of our time, including promoting peace, protecting the environment, providing education and health services, and Gold Hoops, Red Lipstick, and safeguarding human and workers’ rights. Supported by the YHLQMDLG: The Cultural in Everyday College’s Officef o Community Partnerships, students Politics and The Political in Everyday partner with unions, community organizations, and legal Culture groups in the New York City area as a required element of Luisa Laura Heredia their course work, gaining direct experience that they can Sophomore and Above, Seminar—Spring | 5 credits relate to theoretical issues. While ideas of politics and policy change can focus on electoral and sometimes contentious politics, the role of Students also participate in international fieldwork, culture is important in (re)shaping ideas and discourses including at a labor research exchange in Cuba, a health on particular issues and as political acts in and of care worker conference in the Dominican Republic, a themselves. For example, the visual imagery, musical community-organizing project to help establish a medical soundtracks, theatre productions of migrant justice, Black clinic for residents of the impoverished community of Lives Matter, climate justice, and many other social Lebrón in the Dominican Republic, and a study trip to the movements have aided in providing and disseminating United States/Mexico border area of El Paso/Juarez. This counternarratives and political claims that disrupt combination of study and direct experience exposes everyday institutional politics. In doing so, these cultural students to various approaches to problems and builds an productions can help to build movements and provide enduring commitment to activism in many forms. power to those on the outside seeking change. Everyday culture, however, can also be political. Alexandria Ocasio- From Secure Communities to the Cortez and Sonia Sotomayor have raised the significance DREAM Act: Critical Themes and of gold hoops and red lipstick as fashion choices rooted in Reflections in Immigration Policy, the Latinx communities but also as symbols of disruption, as Livelihoods of Migrants, and Societal they are Latinx women traversing hegemonic political Inequality spaces. Trap artist Bad Bunny debuted his studio , YHLQMDLG, during a mobile concert in New York that Luisa Laura Heredia started in the Bronx, traveled through Washington Open, Seminar—Spring | 5 credits Heights, and ended in Harlem. According to anthropologist Immigration has been a recurring and polarizing political Yarimar Bonilla, while on its face the concert was issue in the United States and globally. During the Trump expressly apolitical, the route it traversed, the date it was administration, we witnessed sweeping changes to our planned, and the songs themselves posed a political immigration and enforcement systems. While some of critique of a history of governmental neglect; it marked the those changes were sharp disjunctures from the previous eve of the devastation of Hurricane Maria and traversed Obama administration, others have roots and continuities historically Latino communities that have been most with earlier administrations. Now, again, immigration is set devastated by the current pandemic. At the same time, the to be a central part of public debate and policymaking. And mobile concert provided Latino communities a respite, a yet, despite immigration having been a central part of moment of collective joy and celebration that was also a public debate in contemporary politics, it is still debated response and production of this time of social distancing as if it were ahistorical and decontextualized. In this and the end of large gatherings. Popular culture in the semester-long course, students will explore critical form of beauty, fashion, music, and other productions and themes in the study of immigration and policy. We will practices is shaped by, and responds to, cultural, political, answer questions such as: How do federal, state, and local and historical forces in ways that can sustain or reject immigration policies and their linkages impact the dominant hegemonic constructions. This course, then, livelihood of migrants, and what does that mean for the aims to provide an understanding of how the political shaping of societal inequality? Where is the most effective marshals culture, of how everyday practices of looking and location at which to effect policy change, why, and how? consuming are mediated through fields of power, and of More specifically, this course will trace critical moments how these practices can become the locus of world- 136 Religion building for different marginalized communities. In An Introduction to Statistical Methods and Analysis (p. 97), centering culture in this course, race, immigration, and Daniel King Mathematics gender/sexuality become important axes of analysis, as International Perspectives on Psychology (p. 126), they have been intimately linked with major social Christopher Hoffman Psychology movements and with world-making on the margins. While Urban Health (p. 130), Linwood J. Lewis Psychology the course will cover politics and popular culture Doing Research With Young People (p. 132), Christopher historically, it will also highlight current movements and Hoffman Psychology social issues and include a community engagement Theories of Agency and Action in Science Studies (p. 143), component that will help to situate the course’s themes in Adrianna Munson Sociology time and place. Sociology of Global Inequalities (p. 143), Parthiban Muniandy Sociology Courses offered in related disciplines this year are listed Both Public and Private: The Social Construction of Family below. Full descriptions of the courses may be found under Life (p. 143), Shahnaz Rouse Sociology the appropriate disciplines. Measuring Difference: Constructing Race, Gender, and Ability (p. 144), Adrianna Munson Sociology First-Year Studies: Working USA: American Workers in the Art and the Climate Crisis (p. 172), Gabriela Salazar Visual Globalized Political Economy (p. 37), Kim Christensen and Studio Arts Economics Diversity and Equity in Education: Issues of Gender, Race, Introduction to Economic Theory and Policy (p. 38), Kim and Class (p. 190), Nadeen M. Thomas Women's Christensen Economics History What is Money? Economic and Legal Perspectives (p. 38), Wrongfully Accused (p. 179), Marek Fuchs Writing Jamee Moudud Economics Ecopoetry (p. 182), Marie Howe Writing Political Economy of Global Climate Change (p. 38), An Li Economics RELIGION Environmental and Ecological Economics: Theories and Policies (p. 38), An Li Economics Religious traditions identify themselves with, and draw Political Economy of Environmental Justice (p. 39), An Li sustenance from, the texts that they hold sacred. In Sarah Economics Lawrence College religion courses, those texts command Political Economy of Cities (p. 39), An Li Economics and hold our attention. As students explore the sacred text First-Year Studies: Climate Change (p. 40), Bernice of a particular religion—whether studying Buddhism, early Rosenzweig Environmental Science Christianity, or the origins of Islam—they gain insight into Green Infrastructure (p. 40), Bernice Rosenzweig the social and historical context of its creation. Using Environmental Science critical, hermeneutical, and intellectual historical Geospatial Data (p. 41), Bernice Rosenzweig Environmental approaches, students enter into the writings in such depth Science as to touch what might be the foundation of that religion. Food, Agriculture, Environment, and Development (p. 61), In addition, work with contemporary texts (such as those Joshua Muldavin Geography by religious activists on the internet) gives students Introduction to Development Studies: The Political Ecology insight into what most moves and motivates religious of Development (p. 62), Joshua Muldavin Geography groups today. The College’s religion courses provide an The Rise of the New Right in the United States (p. 62), important complement to courses in Asian studies and Joshua Muldavin Geography history. Rethinking Malcolm X, Black Panthers, and Young Lords: A Radical Historiography (p. 68), Komozi Woodard The Holocaust History Glenn Dynner International Law (p. 69), Mark R. Shulman History Open, Small Lecture—Spring | 5 credits Human Rights (p. 69), Mark R. Shulman History The Holocaust raises fundamental questions about the The Strange Career of the Jim Crow North: African nature of our civilization. How was it that a policy of American Urban History Since the Atlantic Slave genocide could be initiated and carried out in one of the Trade (p. 70), Komozi Woodard History most advanced and sophisticated countries of Europe, a Nationalism (p. 71), Matthew Ellis History country that produced many of the greatest thinkers and Liberations: Contemporary Latin America (p. 73), Margarita artists the world has seen? In this course, we will attempt Fajardo History to explain how those events took place, beginning with the At Home in Another Country: Afropean Communities in the evolution of anti-Semitic ideology and violence. At the 20th Century–21st Century (p. 76), Kishauna Soljour same time, we will look at how victims chose to live out History their last years and respond to the impending catastrophe through art, diary writing, mysticism, physical resistance, THE CURRICULUM 137 hiding, and so on. Finally, we will attempt to come to grips The Emergence of Christianity with the crucial, but neglected, phenomenon of Ron Afzal bystanders—those who stood by while their neighbors Open, Seminar—Year | 10 credits were methodically annihilated. We shall inevitably be Perhaps no one has not heard the name of a seemingly compelled to make moral judgments; but those will be of obscure carpenter’s son executed by the Romans around value only if they are informed and based on a fuller 33 CE. Why? The religion that we call Christianity shaped understanding of people and perspectives in this dark the Western world for at least 1,500 years. In this course, chapter of European history. This course will be run as a we will study the origins of that tradition. As we study lecture/seminar hybrid. those origins, we will explore Judaism in the strange and fertile Second Temple period (515 BCE–70 CE). We will Readings in Christian Mysticism: Late encounter the learned societies of holy men like the Antiquity Pharisees and the Qumran sectarians, as well as the Ron Afzal freedom fighter/terrorists called the Zealots. Our main Open, Seminar—Year | 10 credits source will be the New Testament of the Christian Bible, This course will focus on the intersection of Jewish though these sources will be supplemented by other theology and Greco-Roman philosophy in the early primary materials. Excerpts from the Dead Sea Scrolls, Christian texts commonly seen to contain “mystical rabbinic literature, as well as other Hellenistic texts from elements.” We will define these elements as texts that that period provide the cultural backdrop in which have to do with the desire on the part of the reader to Christianity has its roots. We will learn about the spread of “know,” experience, or “be with” God and with the author’s the new movement of “Christians,” as they were called by attempt to properly demarcate the boundaries within their detractors in Antioch, from its roots in the Holy Land which those desires can be fulfilled. Christian mysticism is into the greater Greco-Roman world. How did that perhaps best thought of as erotic theology—theology that movement, which began among the Jews of the Eastern involves the desire for God. Recognizing this, we must also Mediterranean, come to be wholly associated with acknowledge that inherent to this theology is a profound Gentiles by the end of the second century? Who became paradox. What is desired must be conceived. It must be Christian? Why were they hated so much by the greater held in the grasp of one’s understanding in order to be Greco-Roman society? What did they believe? How did attained. While this is fine for an orange, or even for wealth they behave? What are the origins of Christian anti- and power, it is much more problematic when the object of Semitism? What kind of social world, with its senses of desire is God, the creator of the universe. Theologians in hierarchy and gender relations, did these people envision the early church developed a language of desire and for themselves? specific sets of practices involving one’s lifestyle and prayer in order to resolve this paradox and fulfill their Jewish Life in Eastern Europe: A desire. They began to ponder this paradox with a synthesis Diaspora Case Study of a biblical theology of divine revelation (i.e., the Glenn Dynner revelation of God as preserved in the biblical canon, Open, Seminar—Fall | 5 credits symbolized in both the revelation of YHWH on Mt. Sinai Nearly three-fourths of the world’s Jewish population and in the incarnation of the divine logos as Jesus of once resided in Poland and Russia, producing a vibrant Nazareth) and Platonic expression of a desire for the culture that has been celebrated in the paintings of Marc ultimate good, truth, or beauty. In order to better grasp Chagall and plays like Fiddler on the Roof. Thanks to these ideas, we will be reading parts of the Hebrew Bible extensive self-government, economic niches like tavern- and the Gospels and will contemplate the anthropology of keeping, educational institutions like yeshivas, and desire set forth by Plato in The Symposium and his spiritual subcultures like Hasidism, many Eastern Phaedrus. Educated in the Hellenistic world, the early European Jewish men and women enjoyed a stable, church fathers took these ideas for granted and attempted prosperous, and confident existence. The 19th and 20th to find common ground with their Christian inheritance. centuries, however, witnessed a steady breakdown, We will study the phenomenon of Gnostic Christianity, an manifested in interethnic tensions, violent pogroms, early attempt at synthesis of biblical material and Greek expulsions, and genocide. This course explores the ways in philosophy. We will then move on to encounter the great which East European Jews promoted their own self- early Christian writers like Origen and Athanasius of empowering discourses about gender, law, spirituality, Alexandria, Gregory of Nyssa, Psuedo-Dionysius, and magic, the arts, and politics (e.g., radicalism, nationalism, Ambrose of Milan. We will conclude our study with a orthodoxy), often in the face of cultural coercion, lengthy look at what, for Western culture, is the seminal exclusion, or violence. At the end of the course, we follow work of Augustine of Hippo. the mass migration to America and then return to confront The Holocaust from the perspective of its four million 138 Religion Eastern European Jewish victims. Throughout, the poet who went mad, after he was cut off from his beloved, sources of Eastern European Jewish history will be circulated widely in Arabic sources for hundreds of years examined in light of foundational readings in postcolonial before being expanded into a long narrative poem in and diaspora theory. This course will meet once per week Persian by Nizami in the 12th century. By this point in time, for two hours. telling compelling stories had become a means by which Sufi writers (the mystics of Islam) described their Modern Jewish Literature particular vision of being Muslim, which was that of the pitfalls, despairing moments, and ecstasies of the spiritual Glenn Dynner quest and search for closeness to the divine Beloved. Layla Open, Seminar—Fall | 5 credits and Majnun were just one of several couples in allegorical As Jews were emancipated in Europe and freed from the stories that were understood as teaching vehicles for “ghetto,” many began to grapple with modernity through disciples on the path. On the opposite end of the plot literary genres. Writers like Franz Kafka, Isaac Babel, Primo spectrum, there is Ibn Tufyal’s famous story, Hayy ibn Levi, S. Y. Agnon, and Sholem Aleichem (whose short Yaqzan, a mystical-philosophical work in Arabic also stories formed the basis of the play, Fiddler on the Roof) written in the 12th century. It describes an abandoned achieved universal acclaim. But the path of the modern baby growing up on a desert island, raised first by a deer Jewish writer was rarely smooth. It usually entailed and then by his own devices, as he slowly discovers the alienation, rebellion against tradition, bouts of nostalgia, nature of the human-divine relationship. Other classical longing, regret, and confrontations with increasingly works dispensed with this format of the singular narrative virulent forms of anti-Semitism, culminating in the opt, instead, for nesting stories within stories and mixing Holocaust. In new centers in America and Israel, the Jews’ animal stories with stories about humans. We will look at improved and inverted power status yielded a different, examples of these literary techniques in translations of but no less acute, sense of ambivalence, as witnessed in Farid ad-Din Attar’s Conference of the Birds and The works by authors such as Philip Roth, Cynthia Ozick, Grace Thousand and One Nights. What is common to all of the Paley, Amos Oz, and David Grossman. Despite the tension works that we will be reading in this class is the way in and anguish that runs through modern Jewish literature, which storytelling here is rooted in a deeper dimension we will discover works of beauty and poignancy by men that explores the human potential for more refined and women whose outsider, “pariah” status gave them a behavior and ethics, as well as for higher spiritual states. unique perspective on the world. Perspectives on 9/11: Religion, Japanese Religion and Culture Politics, and Culture Griffith Foulk Kristin Zahra Sands Open, Seminar—Fall | 5 credits Open, Seminar—Fall | 5 credits This historical survey of religious beliefs, practices, and It has now been 20 years since the 9/11 attacks on the institutions in Japan, from ancient times down to the World Trade Center and the Pentagon. How have present, covers all of the major religious traditions and perceptions changed about the events that occurred that movements—Shinto, Buddhism, Shugendo, Confucianism, day in 2001? Shortly after the attacks, then-President and the so-called New Religions—as well as various George W. Bush insisted that Islam was not to blame and, elements of religion and culture (e.g., Noh theatre, instead, framed the battle ahead as “the war on terror.” Bushido) that are not readily subsumed under any of the But what about those who insisted that what had preceding labels. Readings include many primary sources happened was an almost inevitable result of the “clash of (Japanese texts in English translation), and audio-visual civilizations”? How did Osama bin Laden and al-Qaeda materials are used whenever possible to provide a fuller frame the narrative and their part in it? What kinds of picture of traditional religious art, architecture, and ritual arguments were presented to justify the attack and the US performance in Japan. Prior study or experience of things military interventions that followed? In the wake of the Japanese (language, literature, history, etc.) is desirable attacks on 9/11, what has been called the “Islamophobia but not required. industry” developed and flourished, taking full advantage of new forms of media. What role has mainstream and Storytelling and Spirituality in alternative media played in how Muslims have been Classical Islam portrayed and the discrimination that they have faced in Kristin Zahra Sands the years since 9/11? Ten years after the attacks, the 9/11 Open, Seminar—Fall | 5 credits | Hybrid Remote/In-Person Memorial and Museum opened in New York City. How has One of the greatest rock songs of all time, “Layla,” was that site and other memorials shaped the collective written by Eric Clapton after he read the story of the star- memory of the events, as well as the curriculum being crossed lovers Layla and Majnun. This tale of a Bedouin taught to a generation born after 2001? In addition to the THE CURRICULUM 139 architects of these memorials, artists, writers, and Jewish Autobiography: Between filmmakers have explored the many religious, political, and History & Literature social dimensions of the 9/11 attacks and their aftermath. How have those works of imagination expanded the ways Glenn Dynner in which people have made sense of, and found meaning Open, Seminar—Spring | 5 credits in, painful events? While this seminar is being offered as a Autobiography is among the most contentious literary/ religion course, the approach is an interdisciplinary one historical genres, compromised by the fallibility of memory that draws upon readings and other materials from a and the human tendency toward self-fashioning yet variety of academic, artistic, and literary fields. unique in the insights it affords into the lived experience of history. This course employs personal narratives as windows onto the Jewish transition to modernity. We Buddhist Meditation begin with narratives by “traditional” Jewish men and Griffith Foulk women. We then proceed to the wrenching accounts of Advanced, Seminar—Fall | 5 credits early detractors from tradition and then to writings by Throughout history, most branches of the Buddhist Jewish leaders of modern political movements like tradition have embraced the idea that a deluded Zionism, Jewish Socialism, Communism, Orthodoxy, and apprehension of one’s “self” and of the “things” that make Ultra-Orthodoxy. We conclude with individual up one’s world is the root cause of all suffering perspectives on The Holocaust, the Israeli-Palestinian experienced by humans and other living beings in the conflict, and American Jewish feminist, queer, and round of rebirth (samsara). On a more mundane level, transgender self-narratives. Buddhists have generally held that regulating the “mind”—the deep-seated nexus of habitual responses, The Qur’an and Its Interpretation proclivities, and beliefs that filters our perceptions and directs our actions—is the key to achieving individual Kristin Zahra Sands satisfaction and social harmony and justice. Thus, whether Open, Seminar—Spring | 5 credits | Hybrid Remote/In- the aim is ultimate salvation, happiness in this life, or Person simply the attainment of material benefits, Buddhists have To watch a Muslim kiss the Qur’an is to recognize that this often prescribed some program of sustained mental not a “book” in the ordinary sense of the word. There is an discipline—some kind of “meditation” practice—as the art to reciting its verses and an art to its calligraphy. The best means of working toward the goal. But “Buddhist uncovering of its meanings has been variously understood meditation” is only a loose rubric that covers a wide range by Muslims to be a matter of common sense, diligent of different practices—as, for example, techniques for scholarship, or profound inspiration. In this seminar, we calming the mind and entering into trance; procedures for will begin by studying the style and content of the Qur’an. the systematic philosophical analysis of ultimate reality; Some of the themes that may be discussed are the nature mental exercises meant to suppress negative emotions and function of humans and supernatural beings, free will (e.g., anger) and foster positive ones (e.g., loving and determinism, the structure of this and other worlds, kindness); the cultivation of “mindfulness,” in which one God’s attributes of mercy and wrath, gender and family strives to maintain a constant, detached awareness of relations, other religions, and the legitimate use of one’s own physical and mental states without trying to violence. We will also look at the types of literature that change them; mental exercises for recalling and repenting developed in response to the Qur’an in texts ranging from bad deeds done in the past; the visualization of deities, the entertaining stories of the prophets, to scholastic performed in conjunction with devotional prayer; the theological and philosophical analysis, to poetic mystical “investigation of words” attributed to Zen masters, also insights. Contemporary writings written by Muslims will be known as koan practice; and so on. In this course, we included that mine the riches of the classical heritage of examine a selection of texts deriving from the Indian, Qur’anic exegesis while grappling with the difficultiesf o Southeast Asian, East Asian, and Tibetan Buddhist dealing with a text that originated in seventh-century traditions that treat these different types of meditation. Arabia. Readings are in English translation. Enrollment is limited to students with some previous academic study of the Sufi Sciences of the Soul Buddhist tradition (e.g., a course taken at SLC or some Kristin Zahra Sands other college or university) or firsthand experience of some Open, Seminar—Spring | 5 credits Buddhist meditation technique gained through active Muslim mystics have left us with a vast body of literature participation in a religious community. Prospective that explains the faculties and capabilities of human students must interview with the instructor to see if they beings. These theoretical writings go hand-in-hand with qualify. the experiential dimension of Sufi practice, which includes the careful and diligent cultivation of spiritual, mental, 140 Russian emotional, and physical disciplines. The purpose of their RUSSIAN path, as they often label their thought and practice, goes beyond that of religious salvation—at least as understood The goal of the Russian language classes at Sarah in the usual sense. Their goal might be best described as a Lawrence College is to teach students to speak, desire to attain intimate knowledge of the true nature of comprehend, read, and write a fascinating language with a reality, as in the saying of the Prophet Muhammad, “Our logic very different from that of English. Oral proficiency is Lord, show us things as they really are.” Following another the focus of the first-year class, culminating in end-of- saying of the Prophet, “He who knows himself, knows his semester projects where students, in small groups, write Lord,” Sufis have insisted that this deeper knowledge can and film skits. In the second-year course, reading is also only be accomplished by a greater understanding of emphasized. We include short stories and poetry, as well oneself, which necessarily involves the deconstruction of as texts paired with films. Topics, texts, and authors any solid or static notions about what is perceived to be covered in the advanced class vary widely, and student the self. According to Sufis, what we think of as ourselves input is strongly encouraged. Past syllabi have included is really a cacophony of forces from within and without works by authors such as Pushkin, Gogol, Tolstoy, that flow through, and interact with, different faculties Tsvetaeva, Bulgakov, and Pelevin, as well as films. Student within us. The spiritual disciplines in which Sufis immerse work in class and conference is also supplemented by themselves are intended to destabilize the false self by weekly meetings with the language assistant and by a enabling the practitioner to become more conscious of variety of extracurricular activities, including a weekly those forces and faculties. Furthermore, according to Russian Table, Russian opera at the Metropolitan Opera in Sufis, there is a strong relationship between our level of New York City, and excursions to Brighton Beach, awareness, our attitudes and behaviors, and the way in Brooklyn’s “Little Odessa.” which we perceive reality. Changes within us change the reality that seems to be outside of us. Through a series of Students of Russian are strongly encouraged to spend a readings from Sufi figures in the past and present, this semester or, ideally, a year abroad. Sarah Lawrence course will explore their systematic exposition of the students regularly attend a variety of programs, including: “sciences of the soul.” Middlebury College’s School in Russia, with sites in Moscow, Irkutsk, and Yaroslavl; Bard College’s program at Courses offered in related disciplines this year are listed the Smolny Institute in St. Petersburg; the Moscow Art below. Full descriptions of the courses may be found under Theatre School Semester through Connecticut College; the appropriate disciplines. ACTR in Moscow, St. Petersburg, or Vladimir; and CIEE.

Ethnographic Research and Writing (p. 7), Robert R. The Russian program also offers courses taught in Desjarlais Anthropology translation as part of the literature curriculum. Recent Home/Nation: 20th-Century Asian Art–via New literature courses include: The Literatures of Russian and York (p. 14), Gemma Sharpe Art History African American Soul: Pushkin and Blackness, Serfs and Chinese Literature, Folktales, and Popular Culture (p. 16), Slaves, Black Americans and Red Russia; Dostoevsky and Ellen Neskar Asian Studies the West; The 19th-Century Russian Novel; and The Emergence of the Modern Middle East (p. 69), Intertextuality in the 20th-Century Russian Novel. More Matthew Ellis History generally, students of Russian also pursue their interest in Winds of Doctrine: Europe in the Age of the Russia and Eastern Europe in many other areas of the Reformation (p. 69), Philip Swoboda History College. Conference work always may be directed toward Theatre and the City (p. 86), Joseph Lauinger Literature the student’s field of interest. Courses focusing either Milton, Blake, and the Bible (p. 87), William Shullenberger entirely or in part on Russia and/or Eastern Europe are Literature regularly offered in a number of disciplines, including Conscience of the Nations: Classics of African history, film history, dance history, and philosophy. Literature (p. 92), William Shullenberger Literature Theories of Agency and Action in Science Studies (p. 143), Beginning Russian Adrianna Munson Sociology Melissa Frazier Measuring Difference: Constructing Race, Gender, and Open, Seminar—Year | 10 credits Ability (p. 144), Adrianna Munson Sociology To learn another language is to open yourself to another First-Year Studies: Two Lenses on Writing (p. 174), Myra worldview, both as you gain entry into another culture and Goldberg Writing as your own sense of self is transformed. In another language, you are still you; but the tools that you use to create and express that identity do change. As English speakers find themselves in Russia and learning Russian, they first need to come to terms with an often complicated THE CURRICULUM 141 grammar. We will tackle that aspect of our work through a abilities to ask concise, meaningful questions and to degree of analytical thought, a great deal of memorization, design strategies to answer those questions. Such and the timely completion of our often lengthy, biweekly approaches teach us to think and work in new ways and to homework assignments. Even as I encourage students to uncover and evaluate facts and place them in the context reflect on the very different means of expression that of modern society and everyday life. Science and Russian offers, I also ask that they engage in basic—but mathematics classes are offered in a variety of fully functional—conversational Russian at every point disciplines—including biology, chemistry, computer along the way. Our four hours of class each week will be science, mathematics, and physics—and at all levels, devoted to actively using what we know in pair and group ranging from open courses to advanced seminars and activities, role play, dialogues, skits, songs, etc. As a final individual laboratory research projects. project at the end of each semester, students will create their own video skits. In addition to class, students are Qualified students have the option of enrolling in a Science required to meet weekly with the Russian assistant; Third program, whereby students simultaneously register attendance at our weekly Russian Table is strongly for the seminar component of two science/mathematics encouraged. courses that comprise one-third of their curriculum. Because Science Third students will still be able to take two additional nonscience courses each semester, this Intermediate Russian option is an opportunity for well-prepared or advanced Natalia Dizenko students to study multiple science courses without Intermediate, Seminar—Year | 10 credits limiting their options in other disciplines. For more details At the end of this course, students should feel that they and information, please contact the faculty group. have a fairly sophisticated grasp of Russian and the ability to communicate in Russian in any situation. After the first Pre-Health Program year of studying the language, students will have learned the bulk of Russian grammar; this course will emphasize Students interested in pursuing further studies in grammar review, vocabulary accumulation, and regular medicine or other health-related fields may take oral practice. Class time will center on the spoken advantage of the pre-health program, which prepares language, and students will be expected to participate students academically for medical school and assists in actively in discussions based on new vocabulary. Regular meeting the demands of admission to individual medical written homework will be required, along with weekly or graduate programs. Students supplement required conversation classes with the Russian assistant; courses in biology, chemistry, and physics with additional attendance at Russian Table is strongly encouraged. courses offered by the program as part of their preparation Conference work will focus on the written language. for the MCATs and postgraduate education. Conference Students will be asked to read short texts by the author(s) work provides students with additional opportunities to of their choice, with the aim of appreciating a very organize original research projects, pursue independent different culture and/or literature while learning to read learning, and critically examine professional independently, accurately, and with as little recourse to literature—skills fundamental to future success in medical the dictionary as possible. Prerequisite: one year of and graduate schools. Students in the program have college-level Russian or the equivalent significant contact with the pre-health adviser, as well as with other faculty members in the program, through Courses offered in related disciplines this year are listed conferences, course work, and independent research; below. Full descriptions of the courses may be found under therefore, faculty members with a thorough and personal the appropriate disciplines. knowledge of the individual student write letters of Being Totalitarian: Making Hitler’s Germany, Mussolini’s recommendation. The pre-health adviser and faculty Italy, and Stalin’s Soviet Union (p. 73), Philipp Nielsen members also serve as resources for information History regarding application procedures, research and volunteer The Music of Russia (p. 103), Martin Goldray Music opportunities within the community, structuring of class work, MCAT preparation, and practice interviews.

SCIENCE AND MATHEMATICS See separate entries for specific course descriptions in biology, chemistry, computer science, mathematics, and Science is a dynamic process by which we seek to improve physics. our understanding of ourselves and the world around us. We use the language and methods of science and mathematics on a daily basis. Science and mathematics nurture a special kind of creativity by enhancing our 142 Social Science SOCIAL SCIENCE While encouraging student research in diverse areas, courses tend to emphasize the relationship between the The social-science program is designed to enrich and qualitative and the quantitative, the relationship between systematize the understanding that we have of our own theoretical and applied practice, and the complexities of experiences in relation to broader societal forces. The social relations rather than relying on simplistic social sciences begin from the premise that no matter how interpretations. Through reading, writing, and discussion, much we might wish to, we can never detach ourselves students are encouraged to develop a multidimensional entirely from the social institutions and processes that are and nuanced understanding of social forces. Many the context for our individual thoughts and actions. Thus, students in sociology have enriched their theoretical and the purpose of the social-science curriculum is to empirical work by linking it thematically with study in contribute to our empowerment by helping us understand other disciplines—and through fieldwork. the many ways in which people’s lives—values, goals, relationships, and beliefs—are affected by and have an First-Year Studies: Borders, Nations, impact on the social world. Most importantly, we can learn and Mobilities: A Sociological to contextualize our experiences in relation to those of Introduction others whose personal, social, and cultural circumstances Parthiban Muniandy differ from our own. An ability to think critically about our Open, FYS—Year | 10 credits social environment can enhance our experience of In this FYS seminar, students will be introduced to the whatever else we may choose to study or do. field of borders and migration studies based in the social sciences. We will start by reading some key sociological In relation to the humanities, the social sciences offer theories that provide students with an overview of empirical and theoretical perspectives that complement sociology as a discipline and its relevance both within a those of history, philosophy, and religion. In relation to liberal-arts education and to a wider social and political literature and the creative arts, social sciences provide a context. We will then focus on readings that provide context for a fuller understanding of the works that we students with foundational knowledge in border studies, study and create. In relation to the natural sciences, social globalization, the role of nations, nation states and sciences help us analyze the economic, social, and nationalism in society, and, last but not least, migration political implications of modern technological advances and displacement studies. Special focus will also be given and our complex interaction with the physical and to the impacts of the COVID-19 pandemic on globalization, biological environment. Finally, social-science disciplines migration, and the rise of new nationalisms around the give us access to the information and analytical tools that world. As part of the seminar’s “practicum” dimension, we must have in order to evaluate and formulate students will learn the basics of initiating, designing, and alternative public policies and to actively contribute to carrying out sociological research using various methods intellectual and public life. of data analysis, including surveys, statistics, interview, For full course descriptions, see anthropology, economics, and field research. Throughout the year, students will have environmental studies, politics, public policy, and opportunities to engage in new and ongoing research sociology. projects related to the themes of nationalism, borders, and mobilities by engaging with cross-campus organizations, SOCIOLOGY community partners, and broader initiatives such as the Consortium on Forced Migration, Displacement, and Class, power, and inequality; law and society (including Education. Starting in the fall, students will be introduced drugs, crime and “deviance”); race, ethnicity, and gender to some of the resources on campus that are essential for issues; ways of seeing...these are among the topics their learning and academic progress at Sarah Lawrence, addressed by Sarah Lawrence College sociology courses. such as the library and the writing center. Students will be Increasingly, social issues need to be—and are—examined expected to take advantage of these resources as they in relation to developments in global politics and learn the ropes of conducting research in the social economics. Students investigate the ways in which social sciences and refining their academic writing skills. In structures and institutions affect individual experiences addition to our regular class sessions, students will meet and shape competing definitions of social situations, with the faculty instructor weekly during the fall semester issues, and identities. for conference meetings. Conference meeting times will be used to discuss the student’s progress in the class and, more generally, during their first semester at Sarah Lawrence. In the subsequent spring semester, we will move to a biweekly conference-meeting schedule, depending on the student’s ongoing progress and needs. THE CURRICULUM 143 Theories of Agency and Action in of the key global themes through which they will examine Science Studies issues of inequality, using a range of methods for data collection and analysis—datasets from international Adrianna Munson organizations, surveys, questionnaires, historical records, Open, Lecture—Fall | 5 credits reports, and ethnographic accounts—which they will then This course surveys a rich historical debate in science, compile into research portfolios produced as a group. technology, and society studies on the nature of agency—or the motivation behind, and responsibility for, action. The lecture course begins with an exploration of Both Public and Private: The Social the nature of scientific fact, including how discoveries are Construction of Family Life made and how they become accepted in society. We will Shahnaz Rouse pay special attention to the concepts of co-production, the Open, Seminar—Year | 10 credits | Remote idea that humans and technologies work together, and Many of us take for granted the dichotomy between public situated action, the reality that actions are rooted in social and private life. The former is frequently understood as context, to study how technologies become central to abstract, distant, and a key site of power; the latter, as the social interaction. This grounding theory will lay a site of warmth, intimacy and emotional sustenance. In this foundation for students to consider an ongoing debate on seminar, we will critically examine the assumptions the distinction between human and nonhuman action. The underlying such idealized distinctions between public and course culminates with an exploration of three private domains. Through such revisioning, it is hoped that contemporary discussions on the nature of agency with we will better understand the public and private respect to automated weapons systems, assistive dimensions of the family, its complexity, and its historical technologies for people with disabilities, and the use of variability. In particular, our analysis will enable us to algorithms to order social life. For each topic, we will critically examine notions that posit the inevitability of the consider how technologies influence social interaction and nuclear, heterosexual family as a universal and “natural” who or what is responsible when things go wrong. In group institution. Through historical, cross-cultural materials conference, students will practice analyzing how and oral histories, we will look at the myriad ways in which technologies shape social interaction through a series of personal and social reproduction occur; the relationship “object readings,” short analyses of a single technological between distinct family forms and different systems of object. These assignments are designed to prepare social organization and social movements; and the students for a final group analysis of a technology of their expression of class, gender, racial relations, and sexual choice. relations in diverse familial settings. Throughout, we will be attentive to shifting boundaries between the private Sociology of Global Inequalities domain (often erroneously and transhistorically understood in familial terms) and public institutions and Parthiban Muniandy practices. The “private” domain of the family will be Open, Lecture—Spring | 5 credits problematized as a site for the construction of identity and The focus of this lecture will be to introduce students to caring and, simultaneously, as a location that engenders the processes and methods of conducting sociological compulsion and violence. In this latter context, we will research projects using a transnational and/or examine how relations of domination and subordination comparative lens. We will be taking, as our starting point, a are produced through the institution of the “family” and set of global themes—loosely categorized as human rights, how resistance is generated to such dominant relations culture, migration, health, climate, and development— and constructions. The course will conclude with an through which we will try to build our understanding of examination of family forms in contemporary societies inequality in various forms and in different contexts. The (single-parent, same-sex, fictive-kin based) and of public approach we will take here in designing research will be struggles over these various forms. one that aims to move beyond the national or the nation state as a bounded “container” of society and social issues; rather, we will aim at a better understanding of how Bad Neighbors: Sociology of different trends, processes, transformations, structures, Difference, Diversity, and and actors emerge and operate in globally and Cosmopolitanism in the City transnationally interconnected ways. For example, we can look at migration not simply through the lens of Parthiban Muniandy emigration/immigration to and from particular countries Open, Seminar—Fall | 5 credits but also through the lens of flows and pathways that are The focus of the seminar will be on questions of diversity, structured via transnational relationships and circuits of difference, and cosmopolitanism as it pertains to urban remittances, exchanges, and dependencies. As part of life in a contemporary American city such as Yonkers or group conferences, students will be asked to identify one New York City, as well as in urban societies around the 144 Sociology world. We will take a sociological look at how urban and protest; “fitness,” health, and the body; gender, race, communities experience, navigate, and transform social sexuality, (dis)ability, and sports; nationalism(s), national structures, relationships, and institutions in their everyday “styles,” and sports; and the phenomenology of sports. lives, as they deal with problems such as inequality, hate, and exclusion while co-existing with different and diverse Measuring Difference: Constructing populations. We will read books and essays by Arlie Hochschild, Asef Bayat, Yuval Noah Harari, Dina Neyeri, Race, Gender, and Ability Robert Putnam, and others, as we explore ways in which Adrianna Munson cities embody particular histories as central while Open, Seminar—Spring | 5 credits marginalizing others—and how communities and people in In this seminar, we will explore the sociology of their everyday lives resist, alter, and decenter those classification, a subfield that critiques the ways in which histories and hierarchies. Through engaged field research, society measures differences like race, gender, ability, and we will try to learn and understand how diverse other social categories that communicate social worth. communities of people work and live together; build and Three questions guide our inquiry: How does society provide for the wider community; and rely on informal and construct and understand categories of difference? How formal opportunities, resources, and networks to make life do people experience and resist categories of social in the city possible. difference in themselves? How does social difference shape institutions like the family, education, employment, and government? Each week, students will engage a The Sociology of Sports selection of texts that put theory, substantive research on Shahnaz Rouse social categories, and critical responses to them in Sophomore and Above, Seminar—Fall | 5 credits | Remote conversation with one another. For a final class project, This is a course about sports as practice, and practice is students will explore one area of social difference through used here in a multiple sense. As an embodied activity, individual and group writing assignments. Those sporting practice is felt and experienced in and through assignments will provide training in documentary analysis, the body, which is its primary but not sole “habitus”—a a qualitative method often used in historical and term that French sociologist Pierre Bourdieu popularized ethnographic research. Students will leave the course with when elaborating on his notion of “cultural capital.” In this the ability to identify areas of social difference, the course, taking the sporting body and Bourdieu’s concept of practices through which these are produced, and a habitus (taste, habits, skills, dispositions) as our point of systematic critique of the ways in which measurement departure, we will examine sports and its habitation of creates inequality in the social world. worlds that reach far beyond the individual (body) in both time and space. We will examine sports along multiple axes: as a collective and/or individuated activity; as a Lineages of Utopia source of leisure and recreation; as a source of profitable Shahnaz Rouse employment; as a site of identity and nation-building Sophomore and Above, Seminar—Spring | 5 credits projects; and as a space that engenders transnational Utopias have existed in human history for centuries. mobilities and interconnections, as well as ruptures. In its Guided by a critique of the world as constituted, utopias commoditized contemporary form, sports is, more often have been vehicles for both imagining and constructing a than not, controlled by big money and/or the state and is different socio-spatial order. In this seminar, we will part and parcel of what Debord refers to as the “society of examine the materialization of utopias in physical space the spectacle,” a site of production, consumption, and and the logic(s) that informed them. Rather than dealing entertainment. The complex relationship between sports simply with the abstract ideas behind utopian thinking, we as experienced through the body and as a set of will examine a diversity of socio-spatial formations—both disciplinary practices will allow us to think through the as a critique of the present state of existence and as a relation of the individual, the collective, and practice rooted in a radically divergent notion of the institutionalized power, linking these to questions of body future. It is the contention of this course that utopias, politics. Taking the internal dynamics and meaning of rather than being solely imaginary, are deeply historical sports seriously, we will engage sports as a contradictory and informed by existing social conditions. With the field—as both a productive space and a space of objective of analyzing utopias as materialized practices, consumption. Our readings will include scholarly works, we will look at different kinds of utopian communities, sports journalism, films, documentaries, and other ranging from millenarian movements, to socialist, primary sources. Possible conference topics include anarchist and countercultural experiments, to the Occupy sports and politics; analysis of particular sports events Wall Street movement. We will also examine architectural (e.g., the Olympics, women’s basketball, the World Cup); and aesthetic utopias which, like their more explicitly (auto)biographies and/or oral histories of athletes; sports movement-based counterparts, attempt to visualize and THE CURRICULUM 145 rethink space—which remains an essential utopian Media Lab: Youth Education and Community preoccupation. Our foray into these various utopian Engagement (p. 51), Yeong Ran Kim Filmmaking and designs is meant to get us to interrogate the impulses Moving Image Arts undergirding these practices instead of an approach that Food, Agriculture, Environment, and Development (p. 61), dwells primarily on their sustainability over time. We will Joshua Muldavin Geography attempt to understand the traces that these various Introduction to Development Studies: The Political Ecology experiments have bequeathed us regarding activism, of Development (p. 62), Joshua Muldavin Geography social transformation, and the potential for a more just Nationalism (p. 71), Matthew Ellis History world. Participants in this seminar will be encouraged to Environmental Politics, Informality, and Democracy in address our living relationship with utopia by asking how Brazilian History (p. 72), Jesse Horst History we might, both individually and collectively, work to create, Liberations: Contemporary Latin America (p. 73), Margarita experience, or perform utopia without ascribing a Fajardo History totalizing vision to it. Student projects might take the form Studies in Ecocriticism: The Idea of Nature in the Western of a close examination of specific utopian practices or be Tradition (p. 87), Eric Leveau Literature based on creative projects and/or fictional utopias An Introduction to Statistical Methods and Analysis (p. 97), frequently encountered in science-fiction novels and film. Daniel King Mathematics Particular activist movements—such as Black Lives The Beatles (p. 104), Martin Goldray Music Matter, LGNTQ+ activism, and feminist movements—can Women Philosophers in the 20th and 21st also be seen as ways of visualizing futures that depart Centuries (p. 113), Roy Ben-Shai Philosophy from the historical present, out of which such movements International Politics and Ethnic Conflict (p. 120), emerge and in which they are embedded. As such, these, Yekaterina Oziashvili Politics too, have a vision of the future that is at odds with the Crossing Borders and Boundaries: The Social Psychology of present and will provide fertile ground for conference Immigration (p. 127), Gina Philogene Psychology work. Finally, while the course will not specifically address Play and Imagination (p. 128), Anna Beresin Psychology the vexed relationship between utopias and dystopia, an Urban Health (p. 130), Linwood J. Lewis Psychology examination of the latter remains yet another possible line Doing Research With Young People (p. 132), Christopher of inquiry for student projects. Hoffman Psychology The Psychology of Social Influence (p. 134), Gina Philogene Courses offered in related disciplines this year are listed Psychology below. Full descriptions of the courses may be found under From Secure Communities to the DREAM Act: Critical the appropriate disciplines. Themes and Reflections in Immigration Policy, the Livelihoods of Migrants, and Societal Ethnographic Research and Writing (p. 7), Robert R. Inequality (p. 135), Luisa Laura Heredia Public Policy Desjarlais Anthropology Gold Hoops, Red Lipstick, and YHLQMDLG: The Cultural in Telling Lives: Life History in Anthropology (p. 7), Mary A. Everyday Politics and The Political in Everyday Porter Anthropology Culture (p. 135), Luisa Laura Heredia Public Policy Children in Imperial Projects (p. 8), Mary A. Porter The Emergence of Christianity (p. 137), Ron Afzal Religion Anthropology Diversity and Equity in Education: Issues of Gender, Race, First-Year Studies: Working USA: American Workers in the and Class (p. 190), Nadeen M. Thomas Women's Globalized Political Economy (p. 37), Kim Christensen History Economics First-Year Studies: Two Lenses on Writing (p. 174), Myra Introduction to Economic Theory and Policy (p. 38), Kim Goldberg Writing Christensen Economics Wrongfully Accused (p. 179), Marek Fuchs Writing What is Money? Economic and Legal Perspectives (p. 38), Ecopoetry (p. 182), Marie Howe Writing Jamee Moudud Economics Political Economy of Global Climate Change (p. 38), An Li SPANISH Economics Environmental and Ecological Economics: Theories and Sarah Lawrence College’s courses in Spanish cover Policies (p. 38), An Li Economics grammar, literature, film, music, and translation—all with Intermediate Microeconomics (p. 39), Jamee Moudud the aim of making students more capable and confident in Economics thinking, writing, and expressing themselves in Spanish. Political Economy of Environmental Justice (p. 39), An Li Each of the yearlong courses integrates activities such as Economics panel discussions, lectures, and readings with classroom Political Economy of Cities (p. 39), An Li Economics discussion and conference work to provide students with stimulating springboards for research and study. 146 Spanish Beginning Spanish: A Glimpse Into who will be encouraged to locate materials suitable to be the Hispanic World through its jointly exploited by the class as a whole. Weekly conversation sessions with the language assistant are a Language and Culture fundamental part of this course. Students will complete Ximena Venturini guided conference projects in small groups and also have Open, Seminar—Year | 10 credits access to individual meetings to address specific grammar This course aims to introduce students to the language topics. Course taught entirely in Spanish. All students and culture of the Spanish-speaking world and to promote should take the placement test prior to registration. the development of students’ communicative competence in Spanish. Additionally, the objective is to improve students’ intercultural understanding of—and social Intermediate Spanish I: Latin conscience about—problems that affect this cultural American and Spanish Visual Culture complex. From the beginning, students will be in touch Ximena Venturini with authentic Spanish-language films, TV shows, comics, Intermediate, Seminar—Year | 10 credits and poems, as well as short literary and nonliterary texts. This course is intended for students who have had at least Throughout the semester, we will actively implement a one year of college-level Spanish or the equivalent and wide range of techniques aimed at creating an atmosphere who wish to review and expand the fundamentals of the of dynamic oral exchanges. Grammatical structures will be Spanish language. With this, Latin American and Spanish taught by resorting to everyday situations and by the comics, films, and TV shows—such as La casa de las incorporation of a wide set of functional-contextual Flores from Mexico, Paco Roca’s Los surcos del Azar, or activities. Group conferences will help hone Luis Ortega’s El Ángel—will provide the cultural and conversational skills, focusing on individual needs. historical background for discussion in class. Films and TV Watching films, documentaries, and episodes of popular shows work especially well for teaching language, because TV shows, as well as listening to podcasts and reading they can be used to quickly introduce or reinforce blogs and digital publications, will take place outside the vocabulary or a grammatical point and also show their use, seminar meetings and serve as material for class in context, by native speakers. Besides, space restrictions discussions and debates. Weekly conversation sessions force comic-strip writers to get to the point, making with the language assistant are an integral part of the comics a perfect source of useful vocabulary. The goal that course, since the emphasis of the course is on the most comic writers have of appealing to as many readers communicative approach. as possible also means that comics are a perfect source of basic, everyday terms and expressions. Students will gain Advanced Beginning Spanish: Forms key vocabulary for discussing cultural objects, write descriptive profiles, and even make their own comic book of Culture in the Information Age or record a podcast in Spanish. In addition, students will Eduardo Lago watch films, TV shows, and read comics outside the Open, Seminar—Year | 10 credits seminar meetings in order to reinforce the work that we do This course is designed for students who have taken in class. Individual conference meetings will offer students Spanish before but need to review the essentials of an opportunity to complete independent research projects grammar and develop effective communicative skills at a and to address individual language-acquisition needs. post-elementary level. The course will start with a Weekly conversation sessions with a language assistant thorough review of the basics of Spanish morphology and are also an integral part of the course. syntax. Vocabulary building will take place through an intensive program of readings that will include the study and analysis of poems, song lyrics, newspaper articles, Advanced Intermediate Spanish: short stories, and adapted novellas. The linguistic Political Creativity exploration of those materials will be complemented by Heather Cleary the active exploitation of musical compositions, excerpts Open, Seminar—Year | 10 credits | Hybrid Remote/In- of scripts, and the viewing of films and selected episodes Person of TV series. All forms and manifestations of culture This course looks at ways in which individuals and originated all over the Spanish–speaking world—fashion, communities across the Spanish-speaking world have art, film, music, photography, theatre, science, politics, gotten creative about politics and political about creativity. comics, video games, gastronomy, etc.—will be the objects Students will develop analytic skills and explore social- of our attention. These and other forms of cultural justice issues through the literature, film, music, and expression will be incorporated into the course of study, as visual art of Miguel Ángel Asturias, Gloria Anzaldúa, Nancy long as Spanish is the vehicle of expression. The syllabus Morejón, Sara Gómez, Rebecca Lane, Yásnaya E. Aguilar will be complemented by contributions from students, Gil, Lia Garcia La Sirena, and many more. We will also learn THE CURRICULUM 147 about the politically creative actions of communities and will consist of an examination of the roots and organizations working outside the structures of the nation ramifications of realismo mágico, a form of expression that state; an important aspect of this course will be engaging once defined the literary expression of Latin America and with activist efforts in real time. Students will produce later reformulated by subsequent generations of writers. both critical and creative written work. This discussion- The last phase of the journey will consist of an based course will be conducted in Spanish and is intended investigation of the most recent forms of poetic for students who wish to further hone their expression as they occur in new forms of communication, communication and comprehension skills through from social networks to all kinds of outlets derived from advanced grammar review. Although the course title is technological sources and platforms. In each of these “Advanced Intermediate Spanish,” there is no prerequisite phases, the study of the poetic canon will have its for this course—although the Spanish placement test is counterpart in an exploration of the sister genre of the required prior to interviewing with the instructor. short story.

Literatures From the Spanish- Literatures From the Spanish- Speaking World: Poetry and the Short Speaking World: The Novella Story Eduardo Lago Eduardo Lago Advanced, Seminar—Spring | 5 credits | Hybrid Remote/In- Advanced, Seminar—Fall | 5 credits | Hybrid Remote/In- Person Person This seminar will focus on the analysis of some of the This seminar will operate as an introduction to the fundamental narrative works from the Spanish-speaking literatures of the Spanish-speaking world, centered on the world, with a special emphasis on the novella and other study of two of its mainstays: the formation of the poetic forms of short fiction. In our approach, we will explore the canon and the tradition of the short story. We will examine multiple cultural and historical connections that have the development of both forms of literary expression always linked the literary traditions of Latin America and concurrently, paying attention to the most-important Spain. Chronologically, the works under study will belong moments in the literary history of Latin America and to several time periods. Our journey will start with the Spain. In our exploration, we will not proceed in strict extraordinary explosion of narrative modes brought about chronological order but, rather, focus on pivotal phases by the authors of the so-called “boom” in the middle of the that illustrate the amalgamation of cultures and idioms 20th century, when the contours of magical realism began that converge in the crystallization of the rich body of to take shape and consolidate. Once we finish studying a literatures produced in the score of nations that share number of masterpieces written in that mode, we will Spanish as their vehicle of cultural expression. The point proceed to the next phase when new forms of expression of departure will be the rise of modernismo at the end of emerged, studying the multiple connections of Spanish- the 19th century, when the Nicaraguan poet Rubén Darío language authors with world literature and culminating became the pilot of the language, moving its center of with the revolution brought about by women writers, gravity to Latin America after establishing a direct whose transformation of the canon has crystallized in connection with vital centers of European literature, like fascinating new forms of expression. We will finish the France. The second pivotal moment of our journey will take semester with an in-depth examination of the current us to the 20th century with figures like César Vallejo, who state of affairs in the Spanish-language novel and its broke all stereotypes of poetic creation, establishing an complex relationship with other literary traditions in a idiom whose influence continues to be felt today. Along context of intense transnational, transatlantic, and with his poetic output, we will study that of poets as transcontinental exchange. Works under study will include influential as Gabriela Mistral, Pablo Neruda, Rosario novellas and other forms of short fiction by María Luisa Castellanos, Alejandra Pizarnik, Federico García Lorca, Bombal, Alejandra Pizarnik, Gabriel García Márquez, Juan Juan Ramón Jiménez, and José Lezama Lima, among Rulfo, Julio Cortázar, Roberto Bolaño, César Aira, other towering names. We will continue our exploration of Alejandro Zambra, Guadalupe Nettel, Cristina Rivera the poetic traditions of Latin America and Spain by Garza, Roberto Artl, Horacio Quiroga, and Felisberto studying the fascinating relationship between the present Hernández, among others. time and crucial moments from the past, including early manifestations such as the ancient jarchas, Iberian Courses offered in related disciplines this year are listed compositions in vernacular romance preserved in Arabic below. Full descriptions of the courses may be found under characters, or the unsurpassable anonymous authors of the appropriate disciplines. the beautiful medieval ballads that constitute the Romancero, as well as authors of Jewish origin such as Environmental Politics, Informality, and Democracy in don Sem Tob. Another important moment of our trajectory Brazilian History (p. 72), Jesse Horst History 148 Theatre Revolutions in Cuba: Local Origins, Global Fault Students have many opportunities to synthesize their Lines (p. 72), Jesse Horst History learning by taking part in the Theatre Program Season. Liberations: Contemporary Latin America (p. 73), Margarita Student written and/or created work is a primary focus, Fajardo History while productions of published plays and classical texts First-Year Studies: Difficultomxn W of the are also encouraged. A proposal system for student- Americas (p. 85), Heather Cleary Literature directed, -written, and -devised work within the Theatre Mathematics and Jorge Luis Borges (p. 97), Daniel King Program Season’s production schedule emphasizes the Mathematics development of student artists. There are also Decolonizing Philosophy (p. 114), Carmen De Schryver opportunities in the seasons and projects organized by Philosophy DownStage (a theatre program component) and by independent, student-run companies. Auditions for THEATRE faculty-, student-, and guest-directed productions are open to the entire SLC community. The Sarah Lawrence College theatre program is a community of generous and engaged artists who value Practicum diverse, intentional, and rigorous research, process, and creation. We hold each other and ourselves accountable to Classes provide a rigorous intellectual and practical responsibly challenge ourselves and each other to foster framework, and students are continually engaged in the our growth as individuals and collaborative artists. We process of examining and creating theatre. The theatre support innovation, not only in the art that we produce but program helps students build a solid technique based on also in the systems that we make to learn, share, and established methodologies while also being encouraged to create. Through an interdisciplinary curriculum that discover and develop their individual artistic selves. prioritizes equality, care, and experimentation, we aim to Students can earn credits from internships or fieldwork in create an artistic environment steeped in joy in order to many New York City theatres and theatre organizations. envision and build a better future. This is an open and The Theatre and Civic Engagement program is a training inclusive community where everyone is welcome. program that uses writing, theatre techniques, music, and The theatre program is focused on deep collaboration, the visual arts to embody social and community issues. community building, and interdisciplinarity. We support Civic Engagement courses have been a vibrant component performance and theatre artists through a curriculum in the curriculum for more than three decades, crossing the boundaries of design, acting, directing, encouraging the development of original material created management, performing, writing, technology, producing, inclusively with local partner institutions, community, and voice, movement, and much more. Classes are taught by neighbors. Several theatre components include an open working professionals, with the advantage of additional class showing or performance in addition to the multiple classes in the music and dance programs. performance, design, and production opportunities that are available to students throughout the academic year. We encourage students to bring their own histories, The College’s performance venues include productions in experiences, and stories into the ecosystem of the the Suzanne Werner Wright Theatre and the Frances Ann program to share in the development of new questions, Cannon Workshop Theatre, as well as work in the student- political urgencies, and social engagement. Together, we run DownStage Theatre. Workshops, readings, and will research and practice theatre and performance to productions are also mounted in the PAC OpenSpace expand the possibilities of critical togetherness through Theatre, the Film Viewing Room, the Remy Theatre body, story, and experience. outdoor stage, and various other performance spaces throughout the campus. Curriculum First-Year Studies in Theatre: Students create an individualized Theatre Third with the Directing in the Contemporary guidance of their don and the theatre faculty. Components Theatre are chosen to extend skills and interests, to explore new William D. McRee areas of the art, and to develop performing and/or Open, FYS—Year | 10 credits practical experience. Students are encouraged to find the This course will examine the job of the theatre director as links between their academic and arts courses, creating a both artist and artistic collaborator. Dramatic script holistic educational process. analysis, rehearsal preparation and process, actor/director and writer/director relationships, and the director’s artistic expression will be covered in both class discussions and exercises. Students will be exposed to a THE CURRICULUM 149 variety of directing styles and techniques through trips to Year Studies. First Year Studies in Theatre is an intense New York City theatrical productions and venues and exploration of one area of theatre, and students should through additional field trips. Some of the plays visited will have a strong interest in that area before signing up for be analyzed in detail as part of the classwork. A solid that course. interest in the exploration of theatre directing is strongly recommended for students enrolling in this class. Acting and Performance Students enrolled in FYS in Theatre may take an additional theatre component as part of their Theatre Third, if they choose. They are also required to attend scheduled Sensing, Devising, and Performance Theatre Meetings and Colloquiums and complete a set Larissa Velez-Jackson amount of technical support hours for the department. Open, Component—Fall This FYS in Theatre will occasionally interact with the Through the lens of experimental dance-theatre practice, other FYS in Theatre course, Stuart Spencer’s History and this course proposes theatre as a container of one’s own Histrionics. This will include, but not be limited to, making for the desires, needs, and realities of the body and attending theatre in New York City regularly (pandemic of the greater community to which it belongs. Centering allowing), after which the two groups will meet together to the politics of care, this course explores improvisation and discuss the play and the performance. IMPORTANT: First- body-based inquiry—including, but not limited to, year students are not required to take FYS in Theatre in movement, somatics, vocal sound, song, spoken and order to take theatre classes. They may enroll in a Theatre written words, and archetypal embodiment. By Third that does not include first-year studies. FYS in workshopping these forms, participants will devise their Theatre is an intense exploration of one area of theatre, own solo performance practices; create scores, texts or and students should have a strong interest in that area compositions; and work collaboratively and instructively before signing up for the course. to create for and with each other. Our study will consider how to collect and integrate “material” from outside the First-Year Studies: History and body in order to further apply interdisciplinarity as a force for creation, all while being mindful of the body’s somatic Histrionics: A Survey of Western response to said materials and the particular Drama responsibilities that we collectively have when considering Stuart Spencer appropriation. The capturing of these materials will Open, FYS—Year | 10 credits include two or three workshops on experimentation in This course explores 2,500 years of Western drama and various technological platforms, collecting found sound how dramaturgical ideas can be traced from their origins and language from our environment (aspects of the course in fifth-century Greece to 20th-century Nigeria, with many will involve safely going outside the “studio” during class stops in between. We will try to understand how a play is time), and students creating and sharing their own constructed, rather than simply written, and how how each methodologies for harvesting. Group discussion will make succeeding epoch has both embraced and rejected what room for critical dialogue around all terms that we use, and has come before it in order to create its own unique the course will include supportive readings to illustrate the dramatic identity. We will study the major genres of precedence for these practices in our contemporary Western drama, including the classically structured play, landscape. This class meets weekly—four hours of studio- Elizabethan drama, neoclassicism, realism, naturalism, based solo and collaborative practice. No prior experience expressionism, comedy, musical theatre, theatre of is required. cruelty, and existentialism. We will look at the social, cultural, architectural, and biographical context for the Creating Your Own Comedy plays in question to better understand how and why they were written as they were. Classroom discussion will focus Christine Farrell on a new play each week, while conference work with be Intermediate, Component—Year devoted mostly to the students’ writing about them. This This class will begin with an exploration of the classic FYS in Theatre will occasionally interact with the other structures of stand-up comedy. The concepts of set up FYS in Theatre course, Dave McRee’s Directing in the and punch, acting out, and heightened wordplay will be American Theatre. This will include, but not be limited to, employed, along with the techniques used to create and attending theatre in New York City regularly (pandemic become comic characters using your past, the news, and allowing), after which the two groups will then meet to the current social environment to craft a comic routine. discuss the play and the performance. Important note: Discovering what is recognizably funny to an audience is First-year students are not required to take First Year the labor of the comic artist. The athletics of the creative Studies in Theatre in order to take theatre classes. They comedic mind and your own individual perspective on the may enroll in a Theatre Third that does not include First world that surrounds you are the primary objectives of the 150 Theatre first semester. We will also study theories of comedy heighten your ability to invent, give you physical freedom, through the writings of Henri Bergson (philosopher), John and improve the emotional truth in your work. We will be Wright (director), and Christopher Fry (playwright). The creating monologues and characters at the moment; second semester will be designed for collaboration exploring exercises for creating a strong community in a through improvisational techniques, long-form classroom, youth center, town hall, or work environment; improvisational games (Harold), performance techniques and collaborating on ideas for pitching projects. For actors for comic sketch writing and group work, and exercises to and directors, we will practice techniques for film develop the artist’s freedom and confidence in a improvisations, TV commercials, and theatre auditions to collaborative group setting. The ensemble will learn to develop the artist’s range. For non-theatre students, we trust the spontaneous response and their own comic will be focusing on confidence and trust in their original madness as they write, perform, and create scenarios ideas. Any performance—whether experimental, classical, together. At the end of the second semester, there will be a or in a business environment—begins with the artist’s own formal presentation of the comedy devised during the personal experience. Whether you are collaborating with a year. start-up team, giving a speech to a community, or acting on stage, the spontaneous moment is often the most Actors Workshop: Crafting a compelling. Character in Film and Theatre Christine Farrell Breaking the Code Open, Component—Year Kevin Confoy This class is a laboratory for the actor. It is designed for Open, Component—Year performers who are ready to search for the steps to a fully A specific, text-driven approach to acting, Breaking The involved performance. In the first semester, we will explore Code provides a context for the most vital performances characters and monologues that motivate each actor’s based upon a way of dissecting a play and determining a imagination. After analysing the text, defining the imagery, character’s behavior. Students will act scenes from and exploring the emotional choices of the actor, we will contemporary plays and adaptations. Open to both actors work on self-taping our work for auditions. The second and directors. Open to both actors and directors. This class semester will be devoted to scene work: the techniques meets twice a week. used to develop a heightened connection with your scene partner, the importance of listening, and finding your Acting Shakespeare impulses as you work on your feet in the rehearsal room. Modesto Flako Jimenez We will observe the work and read the theories of Declan Open, Component—Year Donnellan’s The Actor and the Target and Stephen Those actors rooted in the tradition of playing Wangh’s An Acrobat of the Heart. Shakespeare find themselves equipped with a skill set that enables them to successfully work on a wide range of texts Improvisation: Finding Spontaneity in and within an array of performance modalities. The Performance objectives of this class are to learn to identify, personalize, Christine Farrell and embody the structural elements of Shakespeare’s Open, Component—Year language as the primary means of bringing his characters Improvisation strengthens the spontaneous imagination; it to life. Students will study a representative arc of is the athletics of the creative mind. Schiller wrote of a Shakespeare’s plays, as well as the sonnets. This class “watcher at the gates of the mind” who examines ideas too meets twice a week. closely. He believed that, in the creative mind, “the intellect has withdrawn its watcher from the gates, and Music and Theatre Practice: Creating the ideas rush in pell-mell—and only then does it review Community and inspect the multitude.” Experiencing this creative Stephen Tyler Davis mind is the focus of the majority of the first-semester Open, Component—Year exercises. These improvisations will develop the freedom Acting and musical storytelling can transform our and confidence of the artist and student. Schiller also said communities far beyond the room where it happened. that “uncreative people are simply ashamed of the From mainstream Broadway mega-hits to intimate avant- momentary passing madness which is found in all real garde experiments, creative performance has the power to creators.” It is the goal of the first semester to open those unite, inspire, and heal. How do we use our creativity to creative minds and train the artist to trust the confront challenging issues in the world around us? spontaneous response and this passing madness. In this class, we will be developing scenarios and situations that THE CURRICULUM 151 Through acting techniques, musical theatre, case studies, Acting the Kilroys and investigating our own ideas, we will discover new ways Kevin Confoy to create community on campus and beyond. Open, Component—Year This script-based approach to acting and performance Actor's Workshop: Creative Practices springs from the works and goals of the Kilroys, “a gang of Sifiso Mabena playwrights…who came together to stop talking about Open, Component—Year gender parity in theatre and start taking action.” Students In this theory and praxis class, students will learn the in Acting the Kilroys will perform given scenes written in a sociohistorical context of major acting methods—such as variety of styles by female, queer, and trans writers. Brecht, Meyerhold, Stanislavski, Stella Adler, and Students will also study the greater context of plays, Hagen—and then participate in workshops in each of watch films and documentaries, and read and discuss those methods. Through a series of exercises and a variety essays and plays that deal with theatre’s response to the of acting techniques, students will explore the essential events that shape our world. Kilroys is about a way of elements of acting, creative expression, and collaboration looking at theatre: “We make trouble. And plays.” Acting in the theatre. These exercises will include vocal and the Kilroys is open to actors of any and all identities. This physical warmups, relaxation, concentration, sensory class meets twice a week. awareness, listening, communication, teamwork, and spontaneity. Participants will learn a variety of ways to Introduction to Intimacy in create a character and to express one’s emotion through Performance the voice, body, and imagination. Skills will be developed to create as an ensemble and to work in relationship to Judi Lewis Ockler people, objects, and places. Ultimately, through in-class Intermediate, Component—Fall scene presentations, acting students will work to convey This class will provide students with an introduction to the vital stories, ideas, emotions, and provocative questions language, processes, and best practices of intimacy that reflect or challenge humanity. Some playwrights from training for stage and screen. The class will meet once per whose work we may work include: Sara Ruhl, Theresa week, during which time students will engage in Rebeck, Maria Irene Fornes, Suzan-Lori Parks, Jean-Paul discussions of terms and theory, learn fundamentals of Sartre, Eugene Ionesco, Young Jean Lee, Jocelyn Bioh, approaching scene work or material that is intimate in Branden Jacobs-Jenkins, Tori Sampson, Charlie Evon nature, and work collaboratively to simulate artistic Simpson, Samuel Beckett, Oscar Wilde, Jean Genet, Lynn settings where best practices can be enacted and Nottage, Katori Hall, Athol Fugard, John Kani, Jocelyn assessed. Toward the end of the term, students will work Bioh, and Jackie Sibblies Drury. This class meets twice a with text, scenes, or breakdowns to practice their week. approach to solving challenges around intimacy choreography. Previous acting, directing, or stage- management component required or permission from the Singing Workshop instructor. Thomas Mandel, William D. McRee Open, Component—Year Collaborative We will explore the actor’s performance with songs in various styles of popular music, music for theatre, cabaret, and original work—emphasizing communication with the 3D Dramaturgy: Finding Voice audience and material selection. Dynamics of vocal Through the Generative Process interpretation and style will also be examined. Students Mallory Catlett perform new or returning material each week in class and Advanced, Component—Year have outside class time scheduled with the musical 3D Dramaturgy is a mechanism for uncovering the director to arrange and rehearse their material. Students connections among the artist, the source material/subject enrolled in this course also have priority placement for matter, and the moment of making—and for generating voice lessons with faculty in the music program and forms that reflect this unique confluence. In this course, enrollment in Alexander Technique classes or other students will create an artist statement focused on the movement courses of their choosing. This class meets central questions/interests of their practice, their sense of once a week. Audition required. purpose, and their relationship to their audience. Each student will choose a piece of source material that allows him or her to explore these questions and relationships in three dimensions. The course will be split into theoretical readings/discussions and studio work, in which each 152 Theatre student will create a series of performative iterations. In they have chosen. We will immerse ourselves in the world the first semester, we will use Andrew Simonet’s process of these plays and experience how a theatre artist might for creating an artist statement from Making a Life as an fully prepare for a theatrical creation. Second semester Artist and Jacques Ranciere’s The Emancipated Spectator will be devoted to performance and production. The to think through the artists' relationship to audience. directors and designers will choose sections of the plays Ideas-Arrangements-Effects, by the Design Studio for that we will cast with the actors. We will rehearse and Social Interventions, will be used to create a framework for design a practicum production at the end of the year. The talking about and approaching studio work. In the studio, plays will be chosen from current American playwrights, we will work across disciplines—with sound, light, such as Brandon Jacobs-Jenkins, Annie Baker, Lynn Nott projection, costume, objects, text, and task—in an effort to age, David Admit, Anne Washburn, Sarah Ruhl, Samuel make “ideas operational in the generation of the new” Hunter, Satori Hall. Adam Rap, and Robert Asking. These (Richard Foreman). In the second semester, students will writers have all created “bold works that have set the take on more responsibilities in selecting readings and scene for 21st-century actors, giving voice to the modern leading discussions of theoretical texts pertinent to their experience,” according to . They are a own research as a means to engender greater vital part of the American theatre today and are influential understanding and to create a community of artists who in shaping and developing the work of the actor, director, can support and challenge each other through and designer. This class meets twice a week. collaboration, listening, and constructive critique. Limited spaces open to undergraduate juniors and seniors. Acting and Directing for the Camera K. Lorrel Manning Digital Devising: Creating Theatre in Intermediate, Component—Year a Postdigital World This comprehensive, step-by-step course focuses on Caden Manson developing the skills and tools that the young actor needs Open, Component—Year in order to work in the fast-paced world of film and This class explores the histories, methods, and futures of television while also learning how to write, direct, edit, and ensemble and co-authored performance creation with a produce his/her own work for the screen. The first focus on new skills and concepts of digital and post- semester will focus on screen acting and on-camera internet. After an overview of historical devising auditions (in person and taped). Through intense scene companies, artists, concepts, and strategies, we will study and script analysis, we will expand each performer’s develop skill sets and frameworks for creating work in a range of emotional, intellectual, physical, and vocal lab setting using the formal aspects of digital and post- expressiveness for the camera. Focus will also be put on internet performance. Some of the frameworks included the technical skills needed for the actor to give the are digital time; avatars and the double event; embodied strongest performance “within the frame” while and representational strategies in the uncanny valley; maintaining a high level of spontaneity and authenticity. staging digital tools, interfaces, and structures; aspects of Students will act in assigned and self-chosen scenes from connectivity, politics, and economics; post-internet film and television scripts. Toward the end of the materiality; and using code to generate and control semester, the focus will switch to on-camera auditions, performances and creation of texts. This class meets once where students will learn the do’s and don’ts of the in- a week. person and the self-taped camera audition. During the second semester, students will learn the basics of filmmaking, allowing them to create their own work Contemporary New Works: An without the restraints of a large budget and crew. The Exploration of the American basic fundamentals of screenwriting, cinematography, Playwright directing, and editing will be covered, along with weekly Christine Farrell writing, reading, viewing, and filming assignments. Open, Component—Year Students will finish class with edited footage of their work This class will explore the works of contemporary and clear next steps. For this course, students must have playwrights. Students will choose two plays, and we will their own—or access to—an iPhone, iPad, or other camera spend the first semester preparing those works for and a computer with editing software (e.g., iMovie, production. Each student may choose to act, direct, or DaVinci Resolve, Final Cut Pro, Adobe Premiere). design. The actors will define their character’s journey and Prerequisite: Theatre program acting or directing develop the imagery, subtext, and history of the character. component or permission of the instructor. The directors and designers will develop their personal concept using visual art, video, sketches, and other written text. All students will research and dramaturge the script THE CURRICULUM 153 Puppet, Spectacle, and Parade learn techniques that transform the “magic” of songwriting into a reflexive act of communication Lake Simons available to anyone, with or without songwriting Intermediate, Component—Year experience. The fundamentals of songwriting are taught, Drawing from various puppetry techniques alongside the along with an introduction to various music software apps. practices of Jacques Lecoq, we will explore and experiment with puppetry and performance. Throughout the course, we will work in collaborative groups to create Theory, History, Survey puppetry performance, including building the puppets and devising works that utilize puppets and objects. We will Historic Survey of Formal Aesthetics explore large-scale, processional-style puppets; puppets as objects and materials; puppeteering the performance for Contemporary Performance space; and the role/relationship of the puppeteer/ Practice performer to puppet. Prerequisite: Puppetry or by Sibyl Kempson permission of instructor. This class meets once a week. Open, Component—Year Once upon a time in a rehearsal, a playwright said, “I just Shosholoza: Working to Make Way for think that this is the most Cubist moment of this play.” Everyone in the room fell silent and grew Each Other uncomfortable...because, what in the heck did she mean Sifiso Mabena by that? And aren’t we already supposed to know? This Open, Component—Year interactive lecture course surveys the aesthetic Shosholoza is a Southern African anthem of unity. movements throughout history and teaches you to track Historically, migrant mineworkers in Johannesburg sang their impact on your work. Ideas behind each movement the song to keep their spirits up and to maintain a working are examined in relation to the historical moment of their rhythm to make progress in their work. Shosholoza as a occurrence and in their formal manifestations across cultural signifier points to the idea of a collaborative visual art, musical, architectural, and performance process. Shosholoza is sung in call and response and, any disciplines. Each student then places his/her own work time it’s sung, involves and implicates whoever is in the within a wider context of formal aesthetic room. This class is about learning to be caring discourse—locating hidden influence and making collaborators who give and take space in creative conscious and purposeful the political resonance that is processes. Students will be assigned tasks designed to subsequently uncovered. Students are encouraged to find foster generosity in the workspace while developing, ways of acknowledging the responsibility that one carries performing, and designing projects in groups throughout for one’s work’s impact on the world and to start using the year. This class meets once a week. terms like “Postmodernism” and “Futurist” with confidence. Songwriting for a New Musical Theatre Home as a Metaphor for Survival: Stew Stewart Theatre in the African Diaspora Open, Component—Year Sifiso Mabena This course suggests a unique approach to musical Open, Component—Year | Hybrid Remote/In-Person theatre making, forged during the making of the Tony/Obie It is a sanctum of discovery, enabling the actor to explore award-winning musical, Passing Strange. The method non-Western movement: centering energy, concentration, treats song, not story, as the seed out of which a show the voice, and the“mythos” of a character to discover one’s grows. Students are taught to conjure stories out of their own truth in relation to the text, both contemporary and songs rather than tacking songs onto a preexisting the classics. Both traditional and alternative approaches narrative. The urgency of personal biography as the source to acting techniques are applied. Fall semester material for theatrical mythmaking (vs invented fictions) concentrates on roles: Hamlet, Leontes, Caliban, Othello, is also emphasized, along with the incorporation of solo Lear, Macbeth, Richard III, Hecuba, Medea, Antigone, Lady performance and the use of video. Emphasis on in-the- Anne, Tamara, Portia, Lady Macbeth; spring semester, moment creating via a demystification of the songwriting applied to scene study from works by Chekhov, Ibsen, process seeks to keep students inspired and motivated, Arrabal, Beckett, Ionesco, Sarah Kane, Amira Baraka, with more time spent creating than listening to a lecture. Edward Albee, and Jean Genet. Required reading: The Art Students are regularly given songwriting prompts and of Acting by Stella Adler. This class meets twice a week. invited to take time away from class to compose. Students will work toward building, by semester’s end, a final show drawn from the songs that they’ve written. Students will 154 Theatre Crisis Mode: Theatre in Response Theatre and Civic Engagement Kevin Confoy Open, Component—Year Curriculum Lab This seminar/workshop course examines the greater role Aixa Rosario Medina of theatre in our culture, particularly as to how theatre Open, Component—Year responds to the events and movements that shape our This is a required weekly course for students who are lives—even as they occur. As we ricochet from one life- sharing their theatre and creative skills in the Saturday altering event to the next, theatre provides a distinct Lunchbox Theatre Program. The Curriculum Lab will prism—a way of looking at the world that challenges explore the creation and development of an perceptions and rejects established forms to create new interdisciplinary teaching curriculum for children ages six paradigms. Crisis Mode addresses the relevance of theatre through 18. Through this weekly lab, directly connected to in the 21st century. Do plays matter? Has the form been the Lunchbox Theatre, students will gain insight into child- exhausted? Or is there a need, now more than ever, for development principles, lesson-planning skills, and what theatre can distinctly provide? Scenes and portions classroom-management strategies. Through inquiry and of plays will be read aloud in class. Students will discuss reflection, students will expand their critical thinking documentaries and films and create solo or group processes while also utilizing practical teaching methods performance pieces to be presented in class at the end of and techniques suitable for multiple learning types and each semester. Discussion topics range from the influence levels. and innovations of mid-20th century theatre artists like Brecht and Beckett to the legacies of political theatre companies like Teatro Campesino. We will look at the Methods of Civic Engagement distinct value of agitprop and pop-up theatre and examine Allen Lang the works and form-bending techniques of contemporary Open, Component—Year | Hybrid Remote/In-Person theatre makers and artists like Anna Deavere Smith, Young Artists are the real architects of change, not the political Jean Lee, Aleshea Harris, Hilary Bettis, Branden Jacobs- legislators who implement change after the fact. —William Jenkins, Tony Kushner, Dominque Morriseau, and Quiara Burroughs This course explores creative, collaborative, Alegria Hudes, along with queer, female, and trans theatre and interdisciplinary structures that extend theatre to our makers. Crisis Mode is open to actors, directors, designers, community for students new to and interested in playwrights, and those interested in looking at theatre as developing a civic engagement practice. The course is both discourse and a means of social activism. This class open to performers, writers, designers, movers, and stage meets twice a week. managers. The practice will explore creating theatrical forms, the creative process, and the connections to Far Off, Off-Off, Off- and On learning and community building through making and doing and constructing an interdisciplinary, shared theatre Broadway: Experiencing the 2021-22 vocabulary. Course work cultivates reflection, dialogue, Theatre Season participation, leadership, facilitation, and curriculum- William D. McRee building skills. Students will have a civic engagement Open, Component—Spring placement at an area school, after-school program, or the Weekly class meetings in which productions are analyzed SLC Lunchbox Theatre Program. Community placements and discussed will be supplemented by regular visits to are typically yearlong and usually culminate in a process- many of the theatrical productions of the current season. centered, informal presentation that reflects the individual The class will travel within the tristate area, attending participants’ interests, stories, and experiences. Class theatre in as many diverse venues, forms, and styles as projects explore participatory, collaborative techniques possible. Published plays will be studied in advance of that are valuable in community engagement projects. This attending performances; new or unscripted works will be class meets once a week. preceded by examinations of previous work by the author or company. Students will be given access to all available The Theatre and the Community group discounts in purchasing tickets. This class meets once a week. Allen Lang Intermediate, Component—Year This course will explore, extend, and bring theatre-making skills to the community. An interest in exploring personally expressive material and in expanding and developing skills is required. The course focuses on successful, process- centered goals and proven community-building techniques and principles. We will examine the THE CURRICULUM 155 applications of contemporary sociopolitical and artistic continues to shape the way directors dissect text, issues of community work. Class readings and discussions incorporate production elements, and create dynamic will review theoretical and practical applications about theatre productions. Directing Brechting is a hands-on theatre making and the political role of artists working in directing class that offers directors a vital technique and the community as agents for social change and social way of working that springs from Brecht’s theories of justice. The course is open to students who want to dialectical theatre. Students will use Brecht’s plays and explore personal material through a sociopolitical lens, plays by contemporary theatre makers that he deeply who are interested in responding to our time’s mad politics influenced—like Anna Deavere Smith, Suzan Lori-Parks, by making a difference—however they can, large or Larry Kramer, and Moises Kaufman, among others—for a small—through theatre-sharing skills. The course is open personalized directing technique built upon an expansive to movers and shakers, playwrights, actors, designers, and Brechtian model. Students will direct scenes from chosen visual artists. Students will hold one civic engagement plays and create and mount their own original work. placement: SLC Lunchbox Theatre, an area school, an Students will act in scenes directed by their classmates after-school program, a senior center, or a youth for in-class presentations. This course is open to serious community center. Class projects may include: directors, actors, designers, writers, poets, etc., who are performances in public spaces, a musical cabaret for interested in developing an approach to work rooted in seniors, creating site-specific videos, recording point of view and desire for social change. Limited spaces community oral histories, or community-wide forums. open to undergraduate juniors and seniors. Educator John Paul Lederach asks the artist to connect with the “moral imagination”—the ability to “stay Directing Workshop grounded in the here and now, with all its violence and injustice, while still imagining and working toward a more William D. McRee life-affirmingorld. w ” Prerequisite: Methods of Civic Open, Component—Year Engagement or permission of the instructor. Directors will study the processes necessary to bring a written text to life, along with the methods and goals used in working with actors to focus and strengthen their Teaching Artist Pedagogy Conference performances. Scene work and short plays will be Course performed in class, and the student’s work will be analyzed Allen Lang and evaluated. Common directing problems will be Advanced, Component—Year addressed, and the directors will become familiar with the I believe that education, therefore, is a process of living and conceptual process that allows them to think creatively. In not a preparation for future living. —John Dewey This the second semester, students will direct a short play of weekly conference course, for graduate and their choice. The workshop is open to beginning directors undergraduate students with extensive community and any interested student. This class meets twice a week. experience, explores the experiential perspectives of the practicing teaching artist, developing teaching skills and Directing: The Expanded Field techniques through a weekly, yearlong community Adil Mansoor placement. The course explores making connections and Advanced, Component—Year | 1 credit crossovers between teaching theories and What does a director do? How do we expand our interdisciplinary theatre coursework that lead toward understanding of direction? Directing: The Expanded Field transformative practices. Course readings will explore the troubles these questions by exploring the responsibilities, writings of Paulo Freire, M. C. Richards, bell hooks, and challenges, and opportunities available to a theatre others. This course continues the successful process- director. The fall semester will focus on skills for directing centered goals and the proven community-building scripted plays, including text analysis, collaboration, techniques and principles of the long-established SLC concept development, and staging. The spring semester Theatre Outreach Program. This class meets once a week. will expand the director’s role by considering various artistic methodologies, including socially engaged art, Directing devised and ensemble-generated theatre, and lecture- performance. Throughout the year, students will learn Directing Brechting through readings and media created by contemporary directors, artists, and thinkers from a variety of lived Kevin Confoy experiences and disciplines. Students will practice and Open, Component—Year experiment with directing methods through writing Bertolt Brecht was a social activist. He used theatre to assignments, presentations, scene work, and iterative affect change. Brecht’s plays and techniques changed the performance experiments. Students will perform in one way we look at theatre and view the world. His approach another’s scenes and collaborate on multiple projects. 156 Theatre Rooted in justice-based pedagogy and community-driven experiences and disciplines. Students will practice and care, the course aims to challenge and expand the experiment with directing methods through writing boundaries of directing performance. Limited spaces open assignments, presentations, scene work, and iterative to undergraduate juniors and seniors. performance experiments. Students will perform in one another’s scenes and collaborate on multiple projects. Directing in Context: Socially Rooted in justice-based pedagogy and community-driven care, the course aims to challenge and expand the Engaged Practice boundaries of directing performance. Limited spaces open Adil Mansoor to undergraduate juniors and seniors. Advanced, Component—Year This course will explore socially engaged art (SEA) from the lens of directing theatre. Throughout the first Directing Conference semester, students will develop an understanding of what William D. McRee SEA can look like. Readings will include Education For Open, Component—Fall Socially Engaged Art by Pablo Helguera, Artificial Hells by Directors who have previously completed the fall semester Claire Bishop, Social Works by Shannon Jackson, and of Directing Workshop can continue their work and direct Tactical Performance: Serious Play and Social Movements a short play of their choice for this class. This course has by L. M. Bogad. We will explore contemporary, socially conferences attached; classwork and conferences will be engaged artists and the context within which they are used to support the rehearsals and production. This class making their work. For example, when we study Simone meets once a week. Leigh’s Free People’s Medical Clinic, we will also study historical and theoretical texts about the Blank Panthers, Movement and Voice mutual aid, healthcare in America, and performing care. Second semester will focus on student research and project development. Students will deep dive into research Voice and Speech I: Vocal Practice as a first step toward developing possible SEA projects. Francine Zerfas Students will build comprehensive reading lists (working Open, Component—Year with librarians and instructors) and begin to develop a This course will focus on awakening the young artist to the research practice. There will be opportunities to present, expressive range of the human voice, as well as to the facilitate conversations, and respond to each other’s ideas intricacies of developing greater clarity of speech and throughout the second semester. This class intentionally playing with sound. A thorough warmup will be developed will not ask students to facilitate SEA projects, to bring power, flexibility, and range to the actor’s voice understanding that the work takes time, meaningful and speech. Exercises and text work will be explored, with relationships, and care. Throughout the year, we will the goal of uniting body, breath, voice, and speech into an consistently consider how theatres, performers, and expressive whole when acting. This class meets once a dramaturgy intersect with, and diverge from, examples of week for two hours. SEA. Limited spaces open to undergraduate juniors and seniors. Introduction to Stage Combat Sterling Swann Directing: The Expanded Field Open, Component—Year Adil Mansoor Students learn the basics of armed and unarmed stage Advanced, Component—Year fighting, with an emphasis on safety. Actors are taught to What does a director do? How do we expand our create effective stage violence, from hair pulling and understanding of direction? Directing: The Expanded Field choking to sword fighting, with a minimum of risk. Basic troubles these questions by exploring the responsibilities, techniques are incorporated into short scenes to give challenges, and opportunities available to a theatre students experience performing fights in classic and director. The fall semester will focus on skills for directing modern contexts. Each semester culminates in a skills scripted plays, including text analysis, collaboration, proficiency test aimed at certification in one of eight concept development, and staging. The spring semester weapon forms. There will be two sections of this course. will expand the director’s role by considering various This class meets once a week. artistic methodologies, including socially engaged art, devised and ensemble-generated theatre, and lecture- performance. Throughout the year, students will learn through readings and media created by contemporary directors, artists, and thinkers from a variety of lived THE CURRICULUM 157 Choreographic Strategies and the full instrument of the performer; namely, the human Theatre body. A daily warmup will open the body to larger movement ranges while introducing students to a better David Neumann, Larissa Velez-Jackson functioning alignment, efficient muscle and energy use, Open, Component—Year full breathing, clear weight transfer, and increased This course will explore methods of creating original awareness while traveling through space. A combination theatre through a choreographic lens as a way of of improvisation, contact improvisation, set phrases, and assembling the various building blocks from which theatre in-class assignments—creating short, movement-based is made (sound, image, movement, language, design, etc.), pieces—will be used to explore a larger range of as well as through the influence and manipulation of time. articulation that the body reveals regardless of the words The semester will begin with structured prompts and spoken on stage. In all aspects, the goals of this class are assignments largely completed in class, eventually moving to enable students to be courageous with their physical into self-generated collaborative projects with some work selves, more articulate with their bodies, and more to be completed outside of class. One of the main focuses personally expressive in performance. No movement of this course is the attempt to articulate, through open background is required—just a healthy mix of curiosity discussions, one’s creative process and choices therein. and courage. In addition to occasional reading handouts, Through analysis of said exercises, students will more there will be opportunities to attend rehearsals and clearly come to know one another’s work and methods. performances of professional theatre and dance in New Students will be asked to create movement sequences, York City. Please wear loose, comfortable clothing. This collaborative projects, and other studies as a way of class meets twice a week. Larissa Velez-Jackson will teach encountering the use of assembly, juxtaposition, unison, this course in the fall; David Neumann in the spring. framing, interruption, deconstruction, and other time- based art practices. Readings will include manifestos and selections from an array of artists, essays, and excerpts of Playwriting various theatre practices from around the world, as well as video examples. As students will be working within various Experiments in Theatrical Writing levels of physicality, wearing loose, comfortable clothing is Melisa Tien encouraged. No dance or movement experience is Intermediate, Component—Year necessary; to find value in this course, one only needs In this course, we will explore, discuss, and write side-by- curiosity and a willingness to jump in. Larissa Velez- side with contemporary experimental theatrical texts. Jackson will teach this course in the fall; David Neumann in What pushes against theatrical traditions and orients the spring. outward toward the new and unfamiliar is what we will think of as experimental. Areas of experimentation that Movement for Performance we’ll encounter on our yearlong journey will include: time, David Neumann, Larissa Velez-Jackson setting, structure, character, language, and genre. Open, Component—Year Experimentation finds purpose in the notion that In the fall semester, this class will explore the full departure from theatrical convention is a move toward instrument of the performer; namely, the human body. altering how an audience responds and reflects upon a Each class will open with a warmup, encouraging a play, which in turn changes how an audience perceives listening approach to functional alignment, breath and and behaves in the world. We’ll explore the landscape of core support, movement effort, and more. Through a the plays that we read in terms of how each play looks, strong use of improvisational scores and strategies, the feels, and sounds. We’ll discuss the cultural, historical, and class will build an ensemble movement language while personal contexts of the plays. We’ll look for ways in which honing solo, partner, and group skills in movement. these contexts may inspire and inform our own writing. Working from what is readily available in one’s body and We’ll generate our own experimental work using the also movement from one’s culture or lived experience, this assigned texts as points of departure, with the intention of class allows students to enhance their dynamic range arriving at a different destination. We’ll write from from large, full bodied, locomotor motions to subtle and different parts of the brain, from the deeply subconscious interior experiences of movement. No movement to the acutely analytical. We’ll consider how the unique background or particular physical ability is required—just structure of a play can derive organically from the story a healthy mix of curiosity, humor, softness, and courage. In being told. And we’ll examine ways in which modern addition to occasional reading handouts, there will be technology may assist, or hinder, our storytelling. This opportunities to view excerpts of performances of class meets once a week for four hours (with a half-hour professional theatre and dance that pertain to core break). themes of class. Please wear loose, comfortable clothing. In the spring semester, the class will also explore 158 Theatre Decolonizing the Narrative: Writing we will at once seek to follow our imaginations and for a New Audience creative impulses with a sense of passion and playfulness while also approaching our writing practice with rigorous Naveen Bahar Choudhury intention and discipline. This course meets once a week. Open, Component—Year The stories we tell have the power to change our perceptions about the world around us and the people in it. Creative Impulse: The Process of Decolonizing narratives is the act of undoing colonialism Writing for the Stage or, in a broad sense, undoing the power structures that Sibyl Kempson have historically defined mainstream narratives. In this Advanced, Component—Year course, we will explore how to redefine and subvert In this course, the vectors of pure creative impulse hold common archetypes and tropes found in mainstream sway over the process of writing for the stage—and we theatre. Each week, we will choose a stock character or write ourselves into unknown territory. Students are traditional narrative and write a 10-minute play that encouraged to set aside received and preconceived challenges or subverts it. In the spring, we will choose one notions of what it means to write plays or to be a writer, of the short pieces written in the fall and draft a full-length along with ideas of what a play is “supposed to” or inspired by it. We will consider whom we want our “should” look like, in order to locate their own authentic audience to be; that is, for whose gaze are we writing? ways of seeing and making. In other words, disarm the What do we assume the audience knows, and what do we rational, the judgmental thinking that is rooted in a explain? Who will identify with our characters? Do we concept of a final product, and empower the chaotic, need to provide dramaturgical justification when we write spatial, associative processes that put us in immediate a character whom we don’t usually see on stage? Reading formal contact with our direct experience, impressions, assignments will include plays and other artistic material and perceptions of reality. Emphasis on detail, texture, and that challenges traditional narratives by using new forms contiguity will be favored over the more widely accepted, and structure or in questioning conventional portrayals of reliable, yet sometimes limiting Aristotelian virtues of people of the global majority, queer characters, the structure and continuity in the making of meaningful live working class, Muslims, characters with disabilities, and performance. Readings will be tailored to fit the thinking of more. Examples might include work by Jackie Sibblies the class. We will likely look at theoretical and creative Drury, Larissa FastHorse, Michael R. Jackson, Hannah writings of Gertrude Stein, George Steiner, Mac Wellman, Gadsby, Qui Nguyen, Rehana Lew Mirza, Maria Irene Maria Irene Fornes, Adrienne Kennedy, Mircea Eliade, Fornes, Cori Thomas, Martyna Majok, and more. This Kristen Kosmas, Richard Maxwell, and Roland Barthes, as course meets once a week. well as work that crosses into visual-art realms and radical scientific thought from physicists David Bohm and F. The Physics of Playwriting: An David Peat. The course will be conducted in workshop Introduction to Craft and Voice fashion, with strong emphasis on the tracking and documenting of process. Limited spaces open to Naveen Bahar Choudhury undergraduate juniors and seniors. Permission of the Open, Component—Year instructor is required. Art exists within all of us. In this course, we will examine the fundamentals of dramatic writing and how to use those principles of craft to give shape to the stories that Playwright’s Workshop we need to tell. Weekly writing challenges will be given to Stuart Spencer illustrate concepts such as dramatic conflict and Advanced, Component—Year character objectives, as well as to activate your unique Who are you as a writer? What do you write about, and artistic voice. We will practice writing from the why? Are you writing the play that you want to write or the unconscious, focusing more on process than product, and play that you need to write? Where is the nexus between writing from a place of emotional honesty and the amorphous, subconscious wellspring of the material authenticity. In some cases, acting and improv exercises and the rigorous demands of a form that will play in real will be used in conjunction with writing prompts to help us time before a live audience? This course is designed for access our creative imagination. We’ll also examine how to playwriting students who have a solid knowledge of use the vocabulary of craft to give constructive feedback dramatic structure and an understanding of their own to our peers and to ask strategic questions that will allow creative process—and who are ready to create a complete us to receive helpful feedback, as well. Reading dramatic work of any length. (As Edward Albee observed, assignments will include plays and material in a variety of “All plays are full-length plays.”) Students will be free to other forms that serve as examples of how craft is work on themes, subjects, and styles of their choice. Work employed to actualize the artist’s vision. In all of our work, will be read aloud and discussed in class each week. The THE CURRICULUM 159 course requires that students enter, at minimum, with an performance software will provide students with the basic idea of the play that they plan to work on; ideally, they will tools needed to execute projection designs in bring in a partial draft or even a completed draft that they performance. wish to revise. We will read some existent texts, time allowing. This class meets twice a week. Sound Design Projects Sadah Espii Procto Playwriting Techniques Advanced, Component—Year Stuart Spencer Sound Design Projects is a conference class in support of Open, Component—Year SLC productions of semester projects. The instructor will You will investigate the mystery of how to release your mentor and guide the student through the design and creative process while also discovering the fundamentals production process. We will set up weekly meetings during of dramatic structure that will help you tell the story of production. Crew call and tech visits will also be arranged your play. Each week in the first term, you will write a short on a per-project basis. Open to students that have taken scene taken from The Playwright’s Guidebook, which we Intro to Media, have media design experience, or have will use as a basic text. At the end of the first term, you will instructor approval. write a short but complete play based on one of these short assignments. In the second term, you’ll go on to Video and Media Design Projects adapt a short story of your choice and then write a play based on a historical character, event, or period. The focus Sadah Espii Procto in all instances is on the writer’s deepest connection to the Advanced, Component—Year material—where the drama lies. Work will be read aloud in Video Design Projects is a conference class in support of class and discussed in class each week. Students will also SLC productions of semester projects. The instructor will read and discuss plays that mirror the challenges mentor and guide the student through the design and presented by their own assignments. This course meets production process. We will set up weekly meetings during once a week. production. Crew call and tech visits will also be arranged on a per-project basis. Open to students that have taken Intro to Media, have media design experience, or have Design and Media instructor approval.

Sound Design Costume Design I Sadah Espii Procto Liz Prince Open, Component—Year Open, Component—Year This course, which serves as an introduction to theatrical This course is an introduction to the basics of designing sound design, explores the theory of sound, basic design costumes and will cover various concepts and ideas: the principles, editing and playback software, content language of clothes, script analysis, the elements of creation, and basic system design. The course examines design, color theory, fashion history, and figure drawing. the function and execution of video and sound in theatre, We will work on various theoretical design projects while dance, and interdisciplinary forms. Exercises in sampling, exploring how to develop a design concept. This course nonlinear editing, and designing sequences in also covers various design-room sewing techniques, as performance software will provide students with the basic well as the basics of wardrobe technician duties. Students tools needed to execute sound designs in performance. will become familiar with all of the various tools and equipment in the costume shop and wardrobe areas. Video and Media Design Students will also have the opportunity to assist a Sadah Espii Procto Costume Design ll student on a departmental production Open, Component—Year to further their understanding of the design process when This course, which serves as an introduction to theatrical creating costumes. No previous experience is necessary; video design, explores the theory of sound, basic design actors, directors, choreographers, dancers, and theatre principles, editing and playback software, content makers of all kinds are welcome. This class meets once a creation, and basic system design. The course examines week. There is a $20 materials fee. the function and execution of video and sound in theatre, dance, and interdisciplinary forms. Exercises in sampling, nonlinear editing, and designing sequences in 160 Theatre Costume Design II Lighting Design I Liz Prince Greg MacPherson Intermediate, Component—Year Open, Component—Year This course expands upon the ideas and concepts set forth Lighting Design I will introduce the student to the basic in Costume Design l in order to hone in on and advance the elements of stage lighting, including tools and equipment, student’s existing skill sets. Students will further develop color theory, reading scripts for design elements, their design and construction abilities as they research operation of lighting consoles and construction of lighting and realize design concepts for a variety of theoretical cues, and basic elements of lighting drawings and design projects, as well as develop their communication schedules. Students will be offered hands-on experience skills through class discussions and presentations. in hanging and focusing lighting instruments and will be Students will also have the likely opportunity to design invited to attend technical rehearsals. They will have costumes for a departmental production, assisted by a opportunities to design productions and to assist other Costume Design l student. This design opportunity allows designers as a way of developing a greater understanding for a unique learning experience, as the student of the design process. This class meets once a week. collaborates with a director and creative team to produce a fully realized theatrical production. Prerequisite: Lighting Design II Costume Design I or by permission of instructor.. Greg MacPherson Intermediate, Component—Year Advanced Costume Conference Lighting Design II will build on the basics introduced in Liz Prince Lighting Design I to help develop the students’ abilities in Advanced, Component—Year designing complex productions. The course will focus This course is designed for students who have completed primarily on CAD and other computer programs related to Costume Design l and Costume Design ll and would like to lighting design, script analysis, advanced console further explore any aspect of designing costumes by operation, and communication with directors and other researching and realizing a special costume design project designers. Students will be expected to design actual of their own choosing. Prerequisites: Costume Design l, productions and in-class projects for evaluation and Costume Design ll, and permission of the instructor. This discussion and will be offered the opportunity to increase class meets once a week. their experience in design by assisting Mr. MacPherson and others, when possible. Prerequisite: Lighting Design I Media Design for Digital Performance or by permission of instructor. This class meets once a week. Intermediate, Component—Year | Remote This course will prepare students to create digital performances using multimedia tools. We will look at the Puppet Theatre creative applications of media design as it relates to video Lake Simons capture and digital presentation. Exploring a variety of Open, Component—Year digital workflows, students will gain hands-on experience This course will explore a variety of puppetry techniques, and be prepared to problem-solve, troubleshoot, and including bunraku-style, marionette, shadow puppetry, creatively design for digital performances. By participating and toy theatre. We will begin with a detailed look at those in this course, students will create a cohort of media- forms through individual and group research projects. minded theatre makers, who are committed to working on Students will then have the opportunity to develop their productions and supporting their peers. This course will puppet manipulation skills, as well as to gain an serve to mentor, troubleshoot and critically analyze understanding of how to prepare the puppeteer’s body for theatrical design through the lens of digital performance. performance. We will further our exploration with hands- Students will be expected to work on season designs for on learning in various techniques of construction. The productions or their own solo work. Students will be class will culminate with the creation and presentation of required to attend additional technical meetings/ puppetry pieces of their own making. This class meets rehearsals and design productions over the course of the once a week for two hours. year. Prerequisites: Intro to Media Design, Sound I, Intro to Projection, or instructor permission. This class meets once Scenography I a week. Jian Jung Open, Component—Year This course is an introduction to theatrical scenic design. Students will learn how to look at the world with fresh eyes THE CURRICULUM 161 and use imagination to create a theatrical world on stage. Classroom exercises and discussion augment the The course covers the fundamental ideas of scenic design mentored production work that is assigned to each and basic design technique, such as research, drawing, student. Script analysis, blocking notation, prop and scale-model making. We will start from small exercise management, and cue writing/calling are among the projects and complete a final design project at the end. topics covered. Knowledge of, and practice in, stage Students will present most of their projects to the class, management are essential tools for directors and useful followed by questions and comments from fellow supplements for actors and designers. This class meets students. Presentation and critique skills are important in once a week during fall semester; spring semester is this course. Students with no experience who are devoted to mentored production practicums. interested in other aspects of theatre making, as well as visual arts or architecture, will be able to learn from the Tools of the Trade basics. This class meets once a week. There is a $90 course fee. Robert Gould, Bri Weintraub Open, Component—Year This is a stagehand course that focuses on the nuts and Scenography Projects bolts of light-board and sound-board operation and Jian Jung projection technology, as well as the use of basic stage Open, Component—Year carpentry. This is not a design class but, rather, a class This is a conference class in support of SLC productions of about reading and drafting light plots, assembly and semester projects. The instructor will mentor and guide troubleshooting, and basic electrical repair. Students who the student through the design and production process. take this course will be eligible for additional paid work as We will set up weekly meetings during production. Crew technical assistants in the theatre department. This class call and tech visits will also be arranged on a per-project meets once a week. basis. The class is open to students who have taken Scenography I, have scenic design experience, or have Courses offered in related disciplines this year are listed instructor approval. below. Full descriptions of the courses may be found under the appropriate disciplines. Production First-Year Studies in Dance (p. 31), John Jasperse Dance Hard Times Require Furious Dancing: Movement as DownStage Language in Performance, Politics, and Everyday Graeme Gillis Life (p. 31), Peggy Gould Dance Intermediate, Component—Year Movement Studio Practice (p. 32), Peggy Gould, Jodi DownStage is an intensive, hands-on conference in Melnick, Lacina Coulibaly, Jennifer Nugent, Janet theatrical production. DownStage student producers Charleston, Jordan Demetrius Lloyd, Jasmine Hearn administrate and run their own theatre company. They are Dance responsible for all aspects of production, including Dance Movement Fundamentals (p. 32), Peggy Gould, determining the budget and marketing an entire season of Lacina Coulibaly, Jennifer Nugent Dance events and productions. Student producers are expected Ballet (p. 32), Megan Williams, Sharon Milanese Dance to fill a variety of positions, both technical and artistic, and West African Dance (p. 32), Lacina Coulibaly Dance to sit as members of the board of directors of a functioning Hip-Hop (p. 32), Matthew Lopez Dance theatre organization. In addition to their obligations to Yoga (p. 33), Patti Bradshaw Dance class and designated productions, DownStage producers Tai Ji Quan and Qi Gong (Fundamentals) (p. 33), Sherry are expected to hold regular office hours. Prior producing Zhang Dance experience is not required. This class meets twice a week. Butoh Through LEIMAY Ludus (p. 33), Ximena Garnica Open to graduate and undergraduate students, sophomore Dance and above. Improvisation in Dance as Real-Time Composition (p. 33), John Jasperse Dance Guest Artist Lab (p. 34) Dance Stage Management Live Time-Based Art (p. 34), Beth Gill, John Jasperse, Dean Neelam Vaswani Moss Dance Open, Component—Year Performance Project (p. 34), Beth Gill, Kyle Marshall Dance This course is a hands-on laboratory class in the skills, Music for Dancers: The Logic of Interaction (p. 34), William practices, and attitudes that help a stage manager Catanzaro Dance organize an environment in which a theatrical team can Anatomy (p. 35), Peggy Gould Dance work together productively and with minimum stress. Anatomy Research Seminar (p. 35), Peggy Gould Dance 162 Urban Studies Lighting in Life and Art (p. 36), John Jasperse Dance urban studies are anthropology, architecture, economics, Advanced Collective in Animation or Experimental environmental studies, politics, public policy, and Media (p. 50), Scott Duce, Robin Starbuck sociology. Filmmaking and Moving Image Arts Writing the Short Film Adaptation (p. 56), K. Lorrel Courses offered in related disciplines this year are listed Manning Filmmaking and Moving Image Arts below. Full descriptions of the courses may be found under Screenwriting: Tools of the Trade (p. 55), K. Lorrel Manning the appropriate disciplines. Filmmaking and Moving Image Arts Ethnographic Research and Writing (p. 7), Robert R. Theatre and the City (p. 86), Joseph Lauinger Literature Desjarlais Anthropology Toward a Theatre of Identity: Ibsen, Chekhov, and Indigenous Mobilities (p. 9), Deanna Barenboim Wilson (p. 89), Joseph Lauinger Literature Anthropology Literature in Translation: 20th-Century Italian Literature Sursum Corda: Art and Architecture from Michelangelo to and Culture (p. 91), Tristana Rorandelli Literature the Dawn of the Enlightenment, 1550-1700 (p. 13), Conscience of the Nations: Classics of African Joseph C. Forte Art History Literature (p. 92), William Shullenberger Literature Home/Nation: 20th-Century Asian Art–via New Theories of the Creative Process (p. 131), Charlotte L. Doyle York (p. 14), Gemma Sharpe Art History Psychology Paris: A History Through Art, Architecture, and City Site/Situation (p. 168), Gabriela Salazar Visual and Studio Planning (p. 15), Jerrilynn Dodds Art History Arts Foundations of Education (p. 185), Denisha Jones Art of Performance Art (p. 170), Clifford Owens Visual and Studio Teaching Arts Japan’s Heisei Era (1989–2019): Culture, Society, and Senior Interdisciplinary Studio (p. 171), John O’Connor, Experiences (p. 17), Jesse Bia Asian Studies Riad Miah Visual and Studio Arts Hard Times Require Furious Dancing: Movement as First-Year Studies: Two Lenses on Writing (p. 174), Myra Language in Performance, Politics, and Everyday Goldberg Writing Life (p. 31), Peggy Gould Dance Stories and... (p. 178), Myra Goldberg Writing West African Dance (p. 32), Lacina Coulibaly Dance The Unconscious, the Absurd, the Sublime, and the Hip-Hop (p. 32), Matthew Lopez Dance Impossibly Probable (p. 179), Mary LaChapelle First-Year Studies: Working USA: American Workers in the Writing Globalized Political Economy (p. 37), Kim Christensen The Basics, Not Excluding the Virtuosic (p. 177), Mary Economics LaChapelle Writing Political Economy of Global Climate Change (p. 38), An Li Fiction Writing Workshop (p. 176), Mary LaChapelle Economics Writing Environmental and Ecological Economics: Theories and Poetry: On and Off the aP ge (p. 183), Jeffrey McDaniel Policies (p. 38), An Li Economics Writing Political Economy of Environmental Justice (p. 39), An Li Explorations in the Poetic Voice (p. 183), Dennis Nurkse Economics Writing Political Economy of Cities (p. 39), An Li Economics To Hold the Unsayable: A Poetry Workshop (p. 183), Marie First-Year Studies: Climate Change (p. 40), Bernice Howe Writing Rosenzweig Environmental Science Green Infrastructure (p. 40), Bernice Rosenzweig URBAN STUDIES Environmental Science Geospatial Data (p. 41), Bernice Rosenzweig Environmental Urban studies is dedicated to the study of cities across Science disciplines, focusing on the fabric of cities and the culture, The Environmental Imagination: Perspectives From the society, and economy particular to cities and to those who Social Sciences, Environmental Humanities, and the live within them. Some of the topics that urban studies Arts (p. 42), Charles Zerner Environmental Studies may explore are the histories of cities; space, design, and Media Lab: Youth Education and Community power; cities and suburbia; the city and the country; Engagement (p. 51), Yeong Ran Kim Filmmaking and megacities; casino urbanization; cities remembered Moving Image Arts (memoirs based on urban space); and cities of the future Visions of Social Justice (p. 52), Damani Baker Filmmaking (real and science-fiction cities). Among the many themes and Moving Image Arts addressed in urban studies are space and sociability, Food, Agriculture, Environment, and Development (p. 61), including urban planning, public and private space, social Joshua Muldavin Geography relations and structures, the right to city space, gender Introduction to Development Studies: The Political Ecology and power, urban social movements, and public art. of Development (p. 62), Joshua Muldavin Geography Among the many disciplines that offer courses related to THE CURRICULUM 163 The Rise of the New Right in the United States (p. 62), architects, philosophers, or journalists. Conference work, Joshua Muldavin Geography senior show, and senior thesis allow the integration of any Rethinking Malcolm X, Black Panthers, and Young Lords: A combination of fields of study, along with the opportunity Radical Historiography (p. 68), Komozi Woodard for serious research across all areas of knowledge. History The Strange Career of the Jim Crow North: African The Heimbold Visual Arts Center offers facilities for American Urban History Since the Atlantic Slave woodworking, plaster, printmaking, painting, video Trade (p. 70), Komozi Woodard History making, and installation. Advanced studios offer individual Environmental Politics, Informality, and Democracy in work areas. In addition to art studios, students have Brazilian History (p. 72), Jesse Horst History access to critique and presentation rooms and exhibition An Introduction to Statistical Methods and Analysis (p. 97), spaces, including a student-run gallery titled A*Space. Daniel King Mathematics Courses are taught in the traditional seminar/conference Polarization (p. 122), Samuel Abrams Politics format, with studio classes followed by one-on-one Crossing Borders and Boundaries: The Social Psychology of conferences with faculty. All students are encouraged to Immigration (p. 127), Gina Philogene Psychology maintain a presence through social media and are Urban Health (p. 130), Linwood J. Lewis Psychology especially encouraged to supplement their work in studio Food Environments, Health, and Social Justice (p. 130), through participation in the program’s ongoing series of Magdalena Ornstein-Sloan Psychology special topic workshops—small three-to-five session Environmental Psychology: An Exploration of Space and minicourses that cover current thought in art theory, Place (p. 133), Magdalena Ornstein-Sloan Psychology discipline-specific fundamentals, new technologies, and First-Year Studies: Borders, Nations, and Mobilities: A professional practices. Past workshops have included Sociological Introduction (p. 142), Parthiban woodworking, fiber arts, metalwork, printmaking, Muniandy Sociology letterpress, figure drawing, printing for photographers, Theories of Agency and Action in Science Studies (p. 143), creative coding, virtual reality, MAX/MSP, online portfolio Adrianna Munson Sociology design, writing an artist’s statement, navigating the art Bad Neighbors: Sociology of Difference, Diversity, and world, the art of critique, applying for grants, and more. Cosmopolitanism in the City (p. 143), Parthiban Students who invest significant time in the program are Muniandy Sociology encouraged to apply for a solo gallery show in their senior The Sociology of Sports (p. 144), Shahnaz Rouse Sociology year and may take on larger capstone projects through a Site/Situation (p. 168), Gabriela Salazar Visual and Studio yearlong, practice-based senior thesis. Arts Experiments in Architectural Drawing and In addition to these resources, the Visiting Artist Lecture Representation (p. 172), Miku Dixit Visual and Studio Series brings a wide range of accomplished artists to Arts campus for interviews and artist talks. In a feature unique Art and the Climate Crisis (p. 172), Gabriela Salazar Visual to the program, faculty routinely arrange for one-on-one and Studio Arts studio critiques between students and guest faculty or Stories and... (p. 178), Myra Goldberg Writing artists who are visiting campus through the lecture series. Ecopoetry (p. 182), Marie Howe Writing Art vans run weekly between campus and New York City museums and galleries. Visual-arts students typically hold VISUAL AND STUDIO ARTS internships and assistantships in artist studios, galleries, museums, and many other kinds of arts institutions The visual and studio arts program is dedicated to throughout the city. interdisciplinary study, practice, experimentation, and collaboration among young artists. Students focus on First-Year Studies Program traditional studio methods but are encouraged to bridge those ideas across disciplines, including experimental Our first-year visual arts program is designed to give media and new techniques. The program offers courses in students a rigorous, yet self-directed, introduction to a painting, drawing, printmaking, photography, sculpture, diverse range of studio disciplines. As a visual and studio video art, installation, creative programming, interactive arts FYS student, you will choose one studio class in the art, interventionist art, games, and simulation. Students fall and a new studio class in the spring. This approach will pursue a multidisciplinary course of study while gaining give you exposure to two distinctly different disciplines proficiency in a wide range of methods and materials. over the course of a year within the general field of visual Working within a liberal-arts context, students are also and studio arts, forming a multidisciplinary foundation at encouraged to form collaborations across fields of the outset of your studies. In your chosen classes, you will practice and often work with musicians, actors, and scenic designers, as well as biologists, mathematicians, 164 Visual and Studio Arts immerse yourself in the materials and ideas vital to that Color and Light: Painting With discipline, working with other first-year and upperclass Watercolor, Dyes, and Fluid Media students in class and on conference work. Marion Wilson In addition, the whole student FYS group will participate in Open, Seminar—Fall | 5 credits FYS Project, a weekly series of experimental, This course uses water-based media in both traditional multidisciplinary workshops intended to expose students and nontraditional ways to create evocative paintings on to the fundamentals of the visual arts and to lay the paper, with pigments (both art and non-art) suspended in groundwork for each student’s interdisciplinary water. Watercolor and gouache are two of the oldest experience at the College. pigment-based media and continues to be used widely by artists, illustrators, designers, and architects. This class Drawing Fundamentals will specifically focus on color and the effects of layering, Carrie Rubinstein transparency, translucency, and absorbency. Students will Open, Seminar—Fall | 5 credits be introduced to a range of brushes, sponges, paper types, This introductory drawing course exposes students to paint media, and techniques. We will use landscape, methods of drawing through rigorous observational portraiture, and other subject matter to represent water, practices. Fundamental drawing concepts involving light, light, flesh, atmosphere, and solid earth. In a final section shade, value, contrast, proportion, texture, mass, and of this course, we will introduce sustainable painting volume are presented, and techniques are demonstrated practices by introducing organically created pigments. to best achieve those ideas. The goals of the course are to Artists surveyed include Charles Burchfield, Anselm develop hand-eye coordination, to understand methods Kiefer, Marcel Dumas, Winslow Homer, Egon Schiele, Vik and materials, and to explore the process of developing a Muniz, Dana Sherwood, Tattfoo Tan, Taylor Davis, Laylah visual vocabulary. Through the activity of drawing, Ali, and Marcel Dzama. students develop the language of drawing—which is truly about seeing through an expanded lens. Students will work Drawing as Visual Language daily with traditional and experimental drawing materials. Riad Miah Drawings by contemporary artists will be shown Open, Seminar—Fall | 5 credits throughout the term, and a coinciding New York City trip to Drawing is a visual language. A drawing can be a response. specific galleries/museums will be taken. At the And a drawing can be a form of reaction. The process of conclusion of this course, students will be able to translate drawing may function both as research and as an an object from life into a two-dimensional drawn form with autonomous medium. In addition to being an introductory both traditional and experimental points of view. drawing course, the content aims to develop concepts through drawing while honing the individual’s interest and Assemblage: The Found Palette study into a state of visual expression. We will begin using Katie Bell various materials and learn how they have aided artists Open, Seminar—Fall | 5 credits and designers, both historically and contemporary. We will Layered, built, found, saved, applied, collected, arranged, copy different methods of drawing and analyze their salvaged...Jean Dubuffet coined the term "assemblage” in function within a process. Videos, readings, and looking at 1953, referring to collages he made using butterfly wings. works of art will aid in understanding the process, Including found material in a work of art not only brings medium, and how the skill may be a part of one’s overall the physical object but also its embedded narrative. In this education. Individual and group conversations will be used course, we will explore the various ways in which the found to help develop and provide a deeper understanding of the object can affect a work of art and its history dating back subject. As the course develops, personal research to the early 20th century. We will look at historical and projects will progress along with one large, collaborative contemporary artists such as Joseph Cornell, Robert group drawing. Our time together will be concentrated in Rauschenberg, Hannah Höch, Betye Saar, Richard Tuttle, the studio, where ideas are generated from analyzing one’s Rachel Harrison, and Leonardo Drew. This course will process and thinking within a medium. The student’s tackle various approaches, challenging the notions of curiosity about topics related to the present and its ”What is an art material?” and "How can the everyday historical relevance will be, through drawing, a part of the inform the creative process.” dialogue. THE CURRICULUM 165 FYS Project independent paintings. Projects will emphasize brainstorming multiple answers to visual problems over Angela Ferraiolo, John O’Connor selecting the first solution that comes to mind. The last Open, FYS—Fall part of the class will be devoted to a personal project. FYS Project is a weekly, small-workshop class that Students will establish their theme of interest, which they introduces first-years to each of the disciplines in the will present during our conference meetings. Then, program. Meetings alternate between discussion and students will carry out research and preparatory work and critique while also offering small experimental studio develop a series of paintings. Drawings in this class will projects in printmaking, painting, drawing, sculpture, often be produced in tandem with paintings in order to photography, and new genres. FYS Project brings all first- solve painting problems and illuminate visual ideas. years together from the start of their program and Revisions are a natural and mandatory part of this class. encourages a broad range of art-making disciplines and The majority of our time will be spent in a studio/work ways of thinking about art. The class ends with a group mode. The studio is a lab where ideas are worked out and exhibition intended to introduce first-year artists to the meaning is made. It is important that you are curious, that wider college community. you allow yourself to travel to unexpected places, and that you do not merely rely on skills and experiences that are The Camera/The World part of you already but, rather, challenge you to openness Sophie Barbasch and progress. The process will be part critical thinking, Open, Small Lecture—Year | 10 credits part intuition, and, in large part, physical labor. Working What are the political, social, and aesthetic implications of rigorously during class and on homework assignments is a world in which the image may have supplanted the required. The goal of this class is to establish the roots of a truth? What are the consequences for communities that healthy and generative personal studio practice. You will are less globally wired? Can humanism thrive in an image- also strengthen your knowledge of art history and take into saturated environment? Can racial and environmental consideration the wider cultural, historical, and social justice be furthered in a plugged-in universe? In particular, contexts within which art is being made today. what are the ramifications of iPhone-enabled “citizen journalism”? Who is telling the story of an image? Who is Intermediate Painting: A Sense of allowed to look at it? Who is disseminating it? Do images haunt our public memory? Do artists have a responsibility Place in image-making? The course structure is lecture/studio Vera Iliatova hybrid and will entail a combination of lecture, discussion, Sophomore and Above, Seminar—Fall | 5 credits writing, and art making. To look at a place closely—to spend time with it while painting it—is, in a sense, to own it. In this course, students explore their own sense of place in different Introduction to Painting locations. Students will travel to various destinations to Yevgeniya Baras collect source materials—such as drawings, photographs, Open, Seminar—Fall and Spring | 5 credits written notes, and painted sketches—and will work on Technical exploration, perception, development of ideas, larger and more complex paintings in the studio. Through intuition, invention, representation, and communication quick studies and finished paintings, students will observe are at the core of this class. We will begin the course in an and create an intimate relationship with their chosen observational mode, introducing practical information motifs. Throughout the semester, students will work both about the fundamentals of painting: color, shape, tone, large and small, both quickly and slowly. Some paintings edge, composition, perspective, and surface. We will paint will take a few minutes, and some will take several days. still lifes and transcribe a masterwork. We will look at the The course emphasizes fundamentals of painting, as well work of both old masters and contemporary painters. We as the formal, cultural, and political connotations that a will also take a trip to a museum to look at paintings “in landscape genre may contain. The course is supplemented the flesh.” The course will include demonstrations of with keynote presentations, class critiques, and studio materials and techniques, art historical presentations, visits. films and videos, reading materials, homework assignments, group and individual critiques. In the second half of the course, we will complete a series of projects Intermediate Painting: Narrative exploring design principles as applied to nonobjective Painting (abstract) artworks. Using paint, with preparatory collages Vera Iliatova and drawings, we will engage with strategies for utilizing Sophomore and Above, Seminar—Spring | 5 credits nonobjective imagery toward self-directed content. Each Taking inspiration from the history of art, literature, and week will bring a new problem, with lessons culminating in cinema, students will be introduced to a variety of 166 Visual and Studio Arts approaches on how to construct narratives in the language Relief Printmaking of contemporary painting. What is narrative, and can it be Vera Iliatova expressed abstractly as well as literally? How can color, Open, Seminar—Spring | 5 credits value, and mark-making be used in painting to create a This course is designed to introduce students to a range of narrative progression and a passage of time? Students will relief printing techniques while also assisting students in explore various narrative themes, sourcing from developing their own visual imagery through the language autobiography, political events, literature, films, mediated of printmaking. Students will work with linoleum and images, and other personally relevant content. woodblock materials. Students will develop drawing skills Observational painting will be used as a point of departure through the printmaking medium and experiment with to examine various strategies to construct a visual world. value structure, composition, mark-making, and Students will proceed to develop technical and conceptual interaction of color. Students will explore the history of skills that are crucial to the painting process. The work will printmaking media, the evolution of subject matter and fluctuate between in-class projects and homework technique, and the relationship of graphic arts to the assignments. The curriculum will be supplemented with methods of mechanical reproduction. Course objectives PowerPoint presentations, film screenings, selected will include becoming familiar with using printing readings, field trips, and group critiques. equipment, printing an edition, critically discussing one’s work, and developing a process of visual storytelling. The Printmaking Intaglio course will be supplemented by technical demonstrations, Vera Iliatova critiques, field trips, and keynote presentations. Open, Seminar—Fall | 5 credits This course is designed to introduce students to a range of Narrative, Printmaking, and Artist intaglio techniques while also assisting students in Books developing their own visual imagery through the language of printmaking. Throughout the semester, students will Nicole Maloof practice dry point, etching, aquatint, soft-ground, and Open, Seminar—Spring | 5 credits sugar-lift techniques. Students will explore the history of In this course, we will explore different ways that narrative printmaking media, the evolution of subject matter and can be achieved through conventional and experimental technique, and the relationship of graphic arts to the applications of image-making, printmaking, and methods of mechanical reproduction. Course objectives bookmaking. How is a story told in a single panel? Over a will include becoming familiar with using a print shop, series of pages? How might conventional means of printing an edition, talking critically about one’s work, and storytelling be subverted and abstracted, stories retold? developing a process of visual storytelling. The course will How do the formal choices in making an object affect the be supplemented with technical demonstrations, way a narrative unfolds? Does a story always require critiques, field trips, and keynote presentations. words? And does the form of a book always imply narrative no matter how abstract its content? Over the course of the semester, a variety of basic printmaking and image- Silkscreen Printing making processes will be covered, along with a selection of Nicole Maloof bookbinding techniques. Students will be asked to Open, Seminar—Fall | 5 credits produce both one-of-a-kind artist books and easily In this course, we will cover the fundamental techniques of reproducible books for potential distribution. silkscreen printing, a form of printmaking that utilizes and expands upon the simple concept of the stencil. We will 1,001 Drawings cover a range of basic techniques that lend themselves well to a home setup, including hand-cut stencils, printing John O’Connor multiple layers, and drawing directly on the screen with Open, Seminar—Fall | 5 credits drawing fluid. We will also look into ways in which This will be a highly rigorous drawing class that pushes silkscreen can be combined with other media, opening up young artists to develop a disciplined, sustainable, and its aesthetic possibilities. Students will be encouraged to experimental drawing practice with which to explore new independently explore subject matter, ideas, and aesthetic ways of thinking, seeing, and making art. Each week, you modes of their own choosing, as we develop a cumulative will make 50 to 100 small works on paper, based on varied, understanding of technical knowledge. The goal of the open-ended, unpredictable prompts. These prompts are course will be to master the basic process of silkscreen in meant to destabilize your practice and encourage you to service of developing a sophisticated language using this interrogate the relationship between a work’s subject and versatile medium. its material process. You will learn to work quickly and flexibly, continually experimenting with mediums and processes as you probe the many possible solutions to THE CURRICULUM 167 problems posed by each prompt. As you create these daily him to say that the institution’s policies “exclude active drawings, you will simultaneously work on one large, engagement toward social or political ends.” Unfortunately ambitious drawing that you revisit over the entire for the museum, a constantly expanding and ever-more semester. This piece will evolve slowly, change vital ocean of such work has ensued. Using Nato incrementally, and reflect the passage of time in vastly Thompson’s Seeing Power: Art and Activism in the 21st different ways from your daily works. This dynamic Century as our text, we will examine the work of artists exchange will allow you to develop different rhythms in whose work has intentionally called for a different social or your creative practice, bridging the space between an political order. Exemplars to be studied will include Francis idea’s generation and its final aesthetic on paper. This Alys, David Hammons, Alfredo Jaar, Barbara Kruger, course will challenge you to ambitiously redefine drawing Suzanne Lacy, Ana Mendieta, Adrian Piper, Pussy Riot, and, in doing so, will dramatically transform your art- Martha Rosler, Doris Salcedo, Carolee Schneemann, Felix making practice. Gonzalez Torres, Kara Walker, Carrie Mae Weems, Ai Weiwei, and Fred Wilson, to name but a very few. In the Drawing in Two-and-a-Half beginning of the semester students will respond to readings, class discussions and prompts with artworks Dimensions that relate to the issues at hand. As the semester Carrie Rubinstein progresses students will also work on a conference project Open, Seminar—Spring | 5 credits that is born of their own independent concerns. The first part of this course focuses on sharpening fundamental drawing skills through essential exercises and with a variety of traditional drawing media. After each Architecture Design Studio: drawing’s initial state is made, assignments will be Heavy–Light reworked with a new set of criteria—such as using one’s Miku Dixit nondominant hand, inventing one’s drawing instruments Open, Seminar—Fall | 5 credits and materials, cutting up old drawings and reconfiguring This studio introduces students to architectural design them into new works, or working continually for a set with a focus on supply chains, material flows, embodied number of hours on one piece. Around the midpoint in the energy, and lifecycles of building materials. Alternative term, our understanding of drawing expands to include materials, whether heavy and earthen or lightweight and works by Christine Sun Kim, Kara Walker, Charles Gaines, ephemeral, will serve as avenues for design research. Our and William Kentridge. How does drawing unfold and design investigations will operate from a basis of energy become stop-motion animations, cut-out life-size and resource scarcity by doing as much as possible with as silhouettes, or massive reproductions on buildings? little as possible. Rather than an approach characterized Drawing evolves from a flat practice into three dimensions. by austerity, however, we will rethink the design of the We will investigate this circumstance and incorporate built environment from the ground up by questioning basic many of those modalities into our works on paper. assumptions that undergird the carbon economy. The Individual meetings with the instructor guide each studio will encourage students to operate with the student’s direction for the second half of the term. Each resourcefulness, efficiencies, flexibilities, and informal student’s unique area of challenge and engagement will be systems seen in parts of Asia, Africa, and South America assessed and explored for the final project. A study trip to as precedents for design and construction. Could these New York City galleries will coincide with course work. methods from the Global South allow us to reimagine the territory and lifecycles of an architectural project? In Art for Good addition, we will explore design opportunities presented to us by phased construction and strategies of disassembly Joel Sternfeld and reusability. Creative work will be advanced through Open, Seminar—Spring | 5 credits successive assignments and design briefs that increase in Some 60 or 70 years ago, the idea of art as a comfort to scale and complexity over the semester. Prior experience middle- and upper-class tastes and values, more or less a with hand drafting, digital drawing, and physical and visual soporific to be occasionally consumed as needed, digital modeling is beneficial but not a requirement. began to come under assault. The methodologies of the Fluxus Movement, the happenings of the ’60s, and various conceptual practices of the ’70s provided a ground from Architecture Design Studio: which artists such as Hans Haacke or Neo Rauch could Enclosure and Environment make work that was critical of prevailing economic or Miku Dixit political realities. In 1971, when a pointed artwork by Open, Seminar—Spring | 5 credits Haacke caused the Guggenheim Museum to cancel his This studio introduces students to architectural design, retrospective, the then-director of the museum wrote to with architecture’s capacity as enclosure to produce 168 Visual and Studio Arts alternate climates, biomes, and ecologies forming the partner. The course will end with students engaging in major conceptual framework for studio projects. The independently conceived interactions with a specific site studio will explore, through research and design (thinking of “site,” broadly, as the place where the work speculation, the history and possible futures of the “resides”). Throughout, we will look at diverse examples of architecture of the nonhuman world. Research into “installation” from throughout art history and a range of histories of botany, colonialism, and resource extraction texts that take on the relationship of artist and site. And will serve as the basis for ambitious forms of design we will make at least one trip to museums and galleries in speculation for an ecologically and climatically uncertain New York City. We will also discuss the process and present and future. Landscape and environmental factors possibilities of documentation (through photography, will be treated as architectural fundamentals integral to video, writing, and even speaking) as a part of the life and the design process rather than as supplemental experience of the work. Please bring examples of prior components or afterthoughts. Consequently, projects will work, if available, to the interview. be highly attuned to natural history, climate, and site specificity. Creative work will be advanced through The Matter in Material successive assignments and design briefs that increase in scale and complexity over the semester. Prior experience Gabriela Salazar with hand drafting, digital drawing, and physical and Sophomore and Above, Seminar—Fall | 5 credits digital modeling is beneficial but not a requirement. “...[O]ur bodies are large collections of oscillating entities existing in an environment made largely of diverse populations of other oscillating identities,” posits the Sculptural and Spatial Activism philosopher Manuel DeLanda in column #10, Matter Morehshin Allahyari Singing in Unison, of his “Matter Matters” series in Domus Open, Seminar—Fall | 5 credits Magazine (2005). Within the scope of those oscillations, This is a theory and practice course, focusing on critical our physical surroundings and the material of our daily thinking for sculptural and spatial making through the lens existence hold inherent resonance and association within of history, activism, and the “radical outside.” In this class, and upon our memories and bodies. As artists, how can we we will both learn about and learn to create multimedia learn to tap those often invisible vibrations that course and interdisciplinary sculptural work. We will consider through stuff? How can the materials that we use in our object making as a position that exists within a larger work be encouraged to speak their own realities and context—beginning from where it is “installed” to what it histories? And how do we deepen our understanding of “activates” and how it relates to cultural, social, and material in order to amplify this effect or, even better, political issues around us. We will focus on topics such as understand what is already there? This semester-long refiguring, activism, digital colonialism, and world- course will explore diverse strategies to mine this building, with each student having the choice of the “invisible” information. Broad (and messy) medium, materials, and topics they are interested in experimentation, collaboration, readings, and creative exploring. This class is and will be a growing collective research in the first part of the course will lead to the effort for “reflective thinking” and asking difficult creation of a series of two- and three-dimensional works questions about sculptural work as a practice that, for too that use the inherent assets of material (both physical and long, has been approached and taught from a one- psychological) to create new forms and meanings. dimensional, binary, and culturally/demographically Reassembling, repurposing, recombining, relocating, and isolated history. In addition to assignments that will allow deconstructing will be examined as process filters through practical creation for each student, we will read and which we can push materials to communicate their discuss the words and works of thinkers, artists, histories and properties. Regular group discussions and designers, and collectives with a major focus on women, critiques will allow us to learn from our own experiments IBPOC, non-Western, and LGBTQ+ communities. and those of others. Prior experience in visual art courses is helpful, though not required. Please bring examples of Site/Situation relevant work to the interview, and expectations of what you hope to gain from the course. Gabriela Salazar Open, Seminar—Spring | 5 credits Like the body, a sculpture is always somewhere. Movable Art From Code or fixed, permanent or ephemeral, sculptural work is Angela Ferraiolo indivisible from the space in which it is experienced—a Open, Seminar—Fall | 5 credits space that we, too, inhabit. Over the semester, students in A “live-coding,” practice-based introduction to visual-arts this course will engage in progressively complex programming, including color, shape, transformations, and interactions with object, space, and site. Our first site will motion, this course is designed for artists with little or no be a sheet of paper for “conversational” works with a prior programming experience. We’ll meet twice weekly to THE CURRICULUM 169 code together live, working on short, in-class exercises 3D Modeling within a larger analysis of the social, cultural, and Shamus Clisset historical nature of programming cultures. All students Open, Seminar—Spring | 5 credits | Hybrid Remote/In- will be required to keep a sketchbook and participate in Person installation. Artists include Reas, Davis, Riley, MacDonald, This course introduces students to the process of and others. Taught in Processing, a free and open-source constructing digital objects and environments within the software. virtual space of the computer. Emphasis will be on a strong grasp of form, space, and composition. Fundamentals of New Genres: Paranoia as a System hard-edge and organic surface modeling will be thoroughly Angela Ferraiolo exercised, while further exploration of the digital tools will Open, Seminar—Fall | 5 credits cover shading and texturing, lighting, and rendering with Through painting, photography, video editing, model the virtual camera. Over the course of the semester, making, surveillance demonstrations, art installation, students will be challenged to create increasingly complex mapmaking, diagramming, and the written word, artists of objects, environments, and imagery. Through intensive the late 20th and early 21st centuries have tried to alert us hands-on studio time, as well as through readings and to their suspicion that there is more to reality than what discussion, students will also be encouraged to consider meets the eye. These artists are willing to follow a hunch the conceptual ramifications of working in illusionistic into unreason, anxiety, and the webs of the subterranean. digital space. Contemporary examples of computer- This course looks at the processes and workings of generated imagery in art, film, and media—juxtaposed “conspiracy aesthetics” from a variety of disciplines. with historical views on visual illusion from art and Students will create one small work of paranoia or philosophy—will form a broader context in which to conspiracy in the medium of their choice. Artists surveyed examine the medium. include Mike Kelley, Hans Haacke, Roman Polanski, Peter Tscherkassky, Jenny Holzer, Mark Lombardi, Henry Darger, New Genres: Drawing Machines Alfredo Jaar, Rachel Harrison, Jane and Louise Wilson, Angela Ferraiolo and others. Open, Seminar—Spring | 5 credits In 2016, So Kanno and Takahiro Yamaguchi used Digital Imaging Studio skateboards and pendulums to create “The Senseless Shamus Clisset Drawing Bot,” a self-propelling device that sprays abstract Open, Seminar—Fall | 5 credits | Hybrid Remote/In-Person lines on walls. Meanwhile, François Xavier Saint Georges This course focuses on contemporary techniques for used power tools to create “The Roto,” a small circular digital image manipulation with an emphasis on machine that prints orbital graphite patterns on flat Photoshop skills, including imaging, retouching, and surfaces. In 2011, Eske Rex, a designer in Copenhagen, compositing workflow. We will cover proper use of built two nine-foot towers to stage a double adjustment layers, layer masks, retouching, and even harmonograph for Milan Design Week. Joseph Griffiths design and basic animation. The skills covered will build a uses exercise bikes. Alex Kiessling uses robot arms. Olafur solid basis for further exploration and interventions within Eliasson simply vibrates balls covered in ink across paper. the realm of photography, illustration, and more radical For centuries, artists have been obsessed with machines digital experiments. While proper technical processes are that make pictures; today, their ongoing experiments with emphasized, we will equally explore expressive use of the softwares, robots, and weird bizarro contraptions have software, creating original, personal work through become a core aspect of the studio’s relationship to independent projects. The broader class discussion will technology. While many drawing machines look backward emphasize computer-generated and -manipulated through history for ideas about mechanized art, imagery beyond the basics of Photoshop as a driving force contemporary projects are often based on computer in art and media that now informs all imagemaking and programs that engage programming as an artistic practice. reflects and informs our culture in general. Students are This class includes readings on the histories of machine encouraged to explore the potential of digital tools within art and programming cultures. this greater context and that of their individual work and interests—visual arts-related or otherwise—stressing New Genres: Cultural HiJack open-ended visual possibilities, as well as technical and Angela Ferraiolo conceptual rigor. Sophomore and Above, Seminar—Spring | 5 credits Is art talking about all the wrong things? In all the wrong ways? Are artists, gallerists, and curators missing the point? Do you see “an elephant in the room”? Would you 170 Visual and Studio Arts like to turn things around? How would you do that? How artists have produced powerful works about the body and have people done it before? This semester, Cultural HiJack the politics of gender, sexuality, and race. This course looks at the ways in which the art world itself gets surveys performance art as a porous, transdisciplinary “hijacked”—by outsiders, insiders, upstarts, free thinkers, medium open to students from all disciplines, including liberationists, subversives, anti-artists, and anyone else painting, drawing, printmaking, photography, sculpture, who intends to “open a window.” We will begin with a few video, filmmaking, theatre, dance, music, creative writing, small exercises, fast projects that get us thinking about and digital art. Students will learn about the history of ways in which the contemporary art world is “saying it performance art and explore some of the concepts and wrong.” From there, students will move on to one longer, aesthetic strategies used to create works of performance. more substantial artwork—a new piece that proposes Drawing on historical and critical texts, artists’ writings, some fresh way of thinking, seeing, or acknowledging an video screenings, and slide lectures, students will use a idea. Along the way, we will consider the many strategies series of simple prompts to help shape their own that artists themselves have used to “change the performances. Artists and art movements surveyed in this conversation,” including the attention grab of the New York class include Dada, Happenings, Fluxus, Viennese School, the curatorial insight of Okwui Enzenor, the Actionism, Gutai Group, Act-Up, Joseph Beuys, Judson consumerist strategies of pop and street art, the paradigm Church, Ana Mendieta, Gina Pane, Helio Oiticica, Jack break of the blockchain and crypto, and more. Artists Smith, Leigh Bowery, Rachel Rosenthal, Jo Spence, Chris studied include Tracey Emin, Damien Hirst, Banksy, Philip Burden, Vito Acconci, Bas Jan Ader, Terry Adkins and the Guston, Dave Hammons, Coco Fusco, Jeremy Deller, and Lone Wolf Recital Corps, Carolee Schneemann, Martha more. Students from all art disciplines are welcome. Wilson, Adrian Piper, Martha Rosler, Lorraine O’Grady, Interdisciplinary projects are encouraged. Joan Jonas, Karen Finley, Janine Antoni, Patty Chang, Papo Colo, Paul McCarthy, Matthew Barney, Ron Athey, Performance Art Tactics Orlan, Guillermo Gomez Pena, Narcissister, Annie Sprinkle, Vaginal Davis, Kris Grey, Carlos Martiel, Autumn Knight, Dawn Kasper Amanda Alfieri, Hennessey Youngman, Savannah Knoop, Open, Seminar—Fall | 5 credits Shaun Leonardo, Francis Alys, Andrea Fraser, Tania This course offers students the opportunity to experiment Bruguera, Zhang Huan, Regina Jose Galindo, Aki and explore contemporary performance art. Through a Sasamoto, Pope.L, and many more. broad-strokes overview surveying a range of important artworks and movements, we will review the histories, concepts, and practices of performance art. Born from Ideas of Photography anti-art, performance art challenges the boundaries of Joel Sternfeld artistic expression through implementing as material the Open, Seminar—Year | 10 credits concepts of space, time, and the body. Examples of artists Each week of the first semester, a different photographic that we will review are John Cage, Joan Jonas, Bruce idea or genre will be traced from its earliest iterations to Nauman, Martha Rosler, Mike Kelley, Paul McCarthy, its present forms through lectures and readings. And each Pope.L, Laurie Anderson, Anne Imhof, Joseph Beuys, week, students will respond with their own photographic Janine Antoni, Suzanne Lacy, Narcissister, Pauline work inspired by the visual presentations and readings. Oliveros, Aki Sasamoto, and Anna Halprin, to name a few. Topics will include personal dress-up and transformation, Dialogues introducing performance art are utilized in composite photography/photographic collage, the sculpture, installation art, protest art, social media, video directorial mode, fashion/art photography, new strategies art, happenings, dada, comedy, sound art, graphic in documentary practice, the typology in photography, the notation, scores, collaboration, and movement. Students photograph in color, and the use of words and images with will be able relate the form and function of performance narrative intention. The emphasis will shift in the second art though workshopping ideas, experimentation, semester, as students choose to work on a subject and in a improvisation, and movement—thereby developing the form that coincides with the ideas that they most urgently ability to confidently perform in any manner of the wish to express. This more personalized work will performance-art genre. eventually culminate into a final conference project. No previous experience in photography is necessary nor is any Performance Art special equipment. A desire to explore, experiment, and create a meaningful body of work are the only Clifford Owens prerequisites. Open, Seminar—Spring | 5 credits Since the early 20th century, artists have explored performance art as a radical means of expression. In both form and function, performance art pushes the boundaries of contemporary art. Through this form of expression, THE CURRICULUM 171 The New Narrative Photography arguments? At the end of the semester, each student will present a body of work on a topic of their choice. This class Joel Sternfeld is open to beginners. Open, Seminar—Year | 10 credits A photograph presented alone and without a description in words is a simple utterance. “Ooh,” “Aah,” and “Huh?” are Senior Interdisciplinary Studio its proper responses. When pictures are presented in John O’Connor, Riad Miah groups with accompanying text (of any length) and Advanced, Seminar—Year | 10 credits perhaps in conjunction with political or poetic conceptual This course is intended for seniors interested in pursuing strategies, any statement becomes possible. The their own art-making practice more deeply, for a prolonged photographs can begin to function as a sentence, a period of time, and culminating in a solo exhibition during paragraph, or an entire treatise. Whether working in the spring semester. Students making work in and across fiction, nonfiction, or in a fictive space, artists such as painting, drawing, sculpture, video, photography, sound, Robert Frank, Jim Goldberg, Roni Horn, Dorothea Lange, new genres, performance, and more are supported. Susan Meiselas, Alan Sekula, Taryn Simon, Larry Sultan, Students will maintain their own studio spaces and will be and numerous others have been in the process of expected to work independently and creatively and to transforming photography with their work. Or perhaps challenge themselves and their peers to explore new ways they have created a medium: the new narrative of thinking and making. Over the course of the year, photography. In this course, students will initially study students will focus exclusively on their own art-making the work of these “narrative” photographers and either practice and will be expected to develop a rigorous body of write about their work or make pictures in response to it. independent work to be presented in their spring semester The culmination of this experience will be students’ exhibition, accompanied by a printed book that documents creation of their own bodies of work. If you have a story to the exhibition. We will have regular critiques with visiting tell, a statement to make, or a phenomenon that you wish artists and faculty across our visual-arts program, along to study and describe, this course is open to you. No with readings, image discussions, and trips to galleries and previous photographic experience or special equipment is artist’s studios. We will participate in the Visual Arts necessary. The opportunity to forge a new medium is rare. Lecture Series. Your art-making practice will be This course aims to create the forum and the conditions supplemented with other aspects of presenting your necessary for all to do so in a critical and supportive work—writing an artist statement, interviewing fellow workshop environment. artists, and documenting your art—along with a range of professional-practices workshops. This will be an Black-and-White Darkroom: An immersive studio course meant for disciplined art Immersion students interested in making work in an interdisciplinary environment. Please bring examples of your artwork to Sophie Barbasch interviews for discussion. John O'Connor will teach this Open, Seminar—Fall | 5 credits course in fall; Riad Miah, will teach in the spring. This class will focus on the technical and conceptual underpinnings of black-and-white photography. Students will learn how to use the 35mm film camera and how to From Collage to Painting print in the darkroom. We will cover a wide range of Yevgeniya Baras technical topics, including exposure, film development, Open, Concept—Fall | 2 credits printing on RC and fiber paper, toning, and split-filter Collage is a way to communicate complex emotions, printing. In-class lectures will introduce students to layered ideas, nonlinear stories. In this class, we will historical and contemporary practitioners, with a focus on explore the process of collage as a method for creating voices and perspectives that have too often been sidelined dynamic compositions. We will be learning different in photo history curricula. Weekly shooting assignments techniques of collage, using found materials, photographs, will challenge students to engage with the complexities of and craft supplies. Collage in this class will be utilized as a the medium and think beyond traditional modes of preparation toward making a series of paintings but will presentation. Reading and writing assignments will also become a part of paintings. At the core of this class is supplement studio work. In addition to art criticism, we openness to material experimentation, interest in learning will read fiction and poetry by writers such as Mary Karr, how to communicate through paint as well as Elena Ferrante, Rebecca Solnit, and Jorie Graham. Some nontraditional painting materials, and learning about other of the guiding questions for our class will include: How can artists who have used collage and assemblage in their we use photography, the indexical medium, to investigate work. The class follows a series of prompts or visual what we don’t understand? How can making images teach problems that are posed by the instructor. By the end of us about the people and places closest to us? And how can class, a series of works will be produced. Each student will printing and installation choices support our artistic investigate topics of interest to them through methods of 172 Visual and Studio Arts collage and painting. Some of the visual materials that we exercises in gesture, contour, outline, and tonal modeling. will reference are stained-glass windows, quilts, tiles, mail In the shorter drawings, students will explore the art, and book art, as well as artists who have used/use fundamentals of drawing such as measurement, mark- collage in their paintings/drawings/sculpture today. making, value structure, and composition. Observational drawing will be used as a point of departure to examine Painterly Print various strategies to construct a visual world. Students will proceed to develop technical and conceptual skills Vera Iliatova that are crucial to the drawing process. The work will Open, Concept—Fall | 2 credits fluctuate between specific in-class and homework This course is an opening foray into the possibilities of assignments. In-class drawing assignments will be painterly printmaking and experimental processes that supplemented with keynote presentations, video merge printmaking with painting and drawing. The course screenings, selected readings, and group critiques. will also cover fundamentals such as basic drawing and color mixing. As a means to explore an individual idea, students will investigate a wide range of possibilities Experiments in Architectural offered by monoprint techniques and will experiment with Drawing and Representation inks and paints, stencils, multiple plates, and images Miku Dixit altered in sequence. Students will begin to develop a Open, Concept—Spring | 2 credits method to investigate meaning, or content, through the This concept course introduces students to architectural techniques of painterly printmaking. There will be an drawing, with a particular focus on experimental and examination of various strategies that fluctuate between hybrid forms of spatio-temporal representation on both specific in-class assignments and individual studio work. paper and digital mediums. Fundamentals of orthographic In-class assignments will be supplemented with and perspectival projection and drawing conventions, as PowerPoint presentations, reading materials, film clips well as the role of notational systems and diagramming, and video screenings, group critiques, homework projects, will be combined with the creative use of imaging, time- and visits to artist studios. based media, physical prototyping, and other digital tools. We will also pay close attention to spatially representing On Color invisible and ephemeral phenomena, such as air flow, ventilation, and environmental factors. This course is open Nicole Maloof to all skill levels; and while prior experience with digital Open, Concept—Fall | 2 credits tools is helpful, it is not required. In this course, we will explore the curious ways in which colors interact with one another. We will perform a multitude of color experiments in order to witness for Art and the Climate Crisis ourselves the wide range of phenomena that arise from Gabriela Salazar the relative nature of color. We will use Josef Albers’s Open, Concept—Spring | 2 credits seminal text as a guide, as we explore concepts such as Artists throughout time have used nature as both color intensity, brightness and value, illusions of inspiration and medium. This course will explore art about transparency, additive and subtractive mixtures, and the our human relationship to the environment through to the Bezold effect, among others. In addition, we will discuss natural trajectory of art that engages with our current psychology and color perception, learning about color climate crisis. What role are artists and art institutions constancy and optical illusions, as well as take a simplified taking in helping raise public consciousness about issues version of the Farnsworth Munsell 100 Hue Test to see like climate change? As cultural producers, what is the how sensitive we are to discrepancies in hue. Lastly, we responsibility of artists to sustainability or to the will extend our examination of color to various cultural environment? We will discuss the ramifications of these contexts and works of art. questions by examining some of the history of artists working in and with the environment and nature, through Figure Drawing taking field trips to relevant art works and installations, through dialogue with practitioners in the field, and Vera Iliatova through some hands-on creative exercises in making art Open, Concept—Spring | 2 credits within these themes. Concurrently, individual research in a This course is an introduction to figure drawing of live topic of interest will lead students to a final project where male and female models using a variety of drawing they will make/propose/analyze/curate an environmental materials, techniques, and artistic approaches. The art project of their own. No previous experience in studio purpose of the course is to help students obtain the basic arts classes is required but could be helpful. skill of drawing the human form, including anatomy, observation of the human form, and fundamental THE CURRICULUM 173 New Genres: Abstract Video Home/Nation: 20th-Century Asian Art–via New York (p. 14), Gemma Sharpe Art History Angela Ferraiolo First-Year Studies in Dance (p. 31), John Jasperse Dance Open, Concept—Spring | 2 credits Yoga (p. 33), Patti Bradshaw Dance Although amateurs often confuse the two terms, abstract Guest Artist Lab (p. 34) Dance video is a new art form that is very different from the Live Time-Based Art (p. 34), Beth Gill, John Jasperse, Dean experimental film movement of the 1970s and ’80s. Often Moss Dance drawing from the digital worlds of games, signal Anatomy (p. 35), Peggy Gould Dance processing, 3D modeling, and computational media, Anatomy Research Seminar (p. 35), Peggy Gould Dance abstract video has become an important new aspect of art Lighting in Life and Art (p. 36), John Jasperse Dance installation, site-specific sculpture, and gallery The Environmental Imagination: Perspectives From the presentations. This small-project concept class is an Social Sciences, Environmental Humanities, and the introduction to the use of video as a material for visual Arts (p. 42), Charles Zerner Environmental Studies artists. Using open-source software and digital First-Year Studies: Media Sketchbooks (p. 49), Robin techniques, students will create one small work of video Starbuck Filmmaking and Moving Image Arts abstraction intended for gallery installation, ambient Worldbuilding (p. 49), Peter Burr Filmmaking and Moving surrounds, and new media screens. Artists studied include Image Arts Ryoji Ikeda, Ian Cheng, Bill Viola, Nam June Paik, Jacolby Fundamentals of 2D Character Animation (p. 49), Scott Satterwhite, Jane and Louise Wilson, and more. Duce Filmmaking and Moving Image Arts Advanced Collective in Animation or Experimental Photogrammetry Media (p. 50), Scott Duce, Robin Starbuck Shamus Clisset Filmmaking and Moving Image Arts Open, Concept—Spring | 2 credits Concept Art: Visual Development (p. 51), Scott Duce Photogrammetry is the process by which, using Filmmaking and Moving Image Arts specialized software, multiple photographic views of an Storyboarding for Film and Animation (p. 50), Scott Duce object or space are analyzed and reconstructed into digital Filmmaking and Moving Image Arts 3D models. These uncanny virtual recreations from the Music and Sound for Film (p. 54), Giancarlo Vulcano real world can then be used as digital props and Filmmaking and Moving Image Arts environments in rendering, games, and animation projects. Theories at Heart (p. 70), Antonia Carcelén-Estrada In this course, we will work with this exciting process, History generating our own models and importing them into 3D Literature in Translation: 20th-Century Italian Literature software to edit, texture, and combine them into larger and Culture (p. 91), Tristana Rorandelli Literature virtual scenes or export them as assets for games, visual Pattern (p. 97), Philip Ording Mathematics effects, or other more experimental uses. We will work in First-Year Studies: The Senses: Art and Science (p. 125), both controlled studio environments as well as “en plein Elizabeth Johnston Psychology air,” with the ability to capture manmade as well as natural Play and Imagination (p. 128), Anna Beresin Psychology objects and spaces, subsequently generating their virtual Theories of the Creative Process (p. 131), Charlotte L. Doyle doppelgangers in the computer and transforming their Psychology meaning as digital art objects. Art and Visual Perception (p. 133), Elizabeth Johnston Psychology Courses offered in related disciplines this year are listed Beginning Spanish: A Glimpse Into the Hispanic World below. Full descriptions of the courses may be found under through its Language and Culture (p. 146), Ximena the appropriate disciplines. Venturini Spanish Intermediate Spanish I: Latin American and Spanish Visual First-Year Studies: Masterworks of Art and Architecture of Culture (p. 146), Ximena Venturini Spanish the Western Tradition (p. 11), Jerrilynn Dodds Art Directing: The Expanded Field (p. 156), Adil Mansoor History Theatre Sursum Corda: Art and Architecture from Michelangelo to First-Year Studies: Two Lenses on Writing (p. 174), Myra the Dawn of the Enlightenment, 1550-1700 (p. 13), Goldberg Writing Joseph C. Forte Art History The Unconscious, the Absurd, the Sublime, and the Global Modernism, Internationalism, and the Cold War: Impossibly Probable (p. 179), Mary LaChapelle 1930s, 1960s, 1990s (p. 13), Gemma Sharpe Art Writing History The Basics, Not Excluding the Virtuosic (p. 177), Mary Romanesque and Gothic Art: Castle and Cathedral at the LaChapelle Writing Birth of Europe (p. 13), Jerrilynn Dodds Art History Fiction Writing Workshop (p. 176), Mary LaChapelle Writing 174 Writing Ecopoetry (p. 182), Marie Howe Writing say. Not so easy to do. You have to build strong literary To Hold the Unsayable: A Poetry Workshop (p. 183), Marie muscles. There are dozens of similar principles that are Howe Writing not a matter of abstract knowledge but of specific practice. That’s why I don’t believe that students are WRITING empty vessels to be filled. Instead, I think of them as lumps of wet clay to be molded and fired by In Sarah Lawrence College’s nationally recognized writing themselves—with the help of faculty—into whatever program, students work in close collaboration with faculty shape vessel they wish. If you enjoy story and enjoy members who are active, successful writers. The program language and have a hide as tough as a petrified focuses on the art and craft of writing. Courses in poetry, rhinoceros, you might wish to take this class. We will have fiction, and creative nonfiction are offered. weekly conferences until October, then biweekly.

In workshops, students practice their writing and critique each other’s work. The program encourages students to First-Year Studies: Two Lenses on explore an array of distinctive perspectives and Writing techniques that will extend their own writing Myra Goldberg ability—whatever their preferred genre. Conferences Open, FYS—Year | 10 credits provide students with close, continual mentoring and The first semester of this FYS course will be focused on guidance and with opportunities to encounter personally words and pictures, with its central lens on stories: how to their teachers’ professional experiences. Teachers critique find them, tell them, and make your listener, viewer, or their students’ writing and select readings specifically to reader come along with you. The course includes adding a augment or challenge each student’s work. In conferences, visual element, photography, drawing, paste-ups, collage, student and teacher chart a course of study that best animations, anime. We will read and then make a few of allows individual students to pursue subjects and issues the following: a collective graphic novel, some children's that interest them, to develop their own voice, to hone books, adult books with pictures, illuminated manuscripts, their techniques, and to grow more sophisticated as comics. Your conference work will be a finished version of readers and critics. a project of your choice. The second semester of the course will be a class in episodes: pieces of a continuing The College offers a vibrant community of writers and story that follow a thread but may have different leading probably the largest writing faculty available to characters in each episode; or a frame, with many peoples' undergraduates anywhere in the country. Visits from guest stories inside; or movement from one time, place, and set writers who give public readings and lectures are an of characters to another. We will bring in and discuss important component of the curriculum throughout the episodes that we love in books, TV, podcasts. We will do year. exercises until we come upon something that engages us and then start our conference work, which will involve six Sarah Lawrence College also takes full advantage of its episodes, more or less. In both semesters, we will have an proximity to the New York City literary scene, with its extra meeting every other week to discuss whatever readings, literary agencies, publishing houses, and comes up: paper writing, social issues, food, bookstores—as well as its wealth of arts and culture. The procrastination. These sessions may be led by the city provides fertile ground for internships in which professor, outside speakers, or a rotating group of students can use their writing training in educational students. programs, schools, publishing houses, small presses, journal productions, magazines, and nonprofit arts agencies. First-Year Studies: Fiction: A User’s Guide First-Year Studies: Writing Workshop David Hollander Melvin Jules Bukiet Open, FYS—Year | 10 credits Open, FYS—Year | 10 credits Many students enter college as avid readers and writers, Some people say, “Can writing be taught?”—but what they but their understanding of what fiction is—its range and really mean is, “Can inspiration be taught?” The answer is, possibilities—will greatly expand during these as the skeptics smugly assume, “No.” Yet habits that help undergraduate years. This FYS writing workshop is serve inspiration are within our control. Frankly, those designed to both invite and fast-track that experience by habits are pretty simple. Here’s one for free: Don’t touch exposing students to fiction’s aesthetic diversity and the the “send” button until a manuscript is as good as you can myriad ways it can enchant, enlighten, and unsettle make it. After you write it, read it. After you read it, revise us—without privileging any single approach. To that end, it. Then do that again. And again. Until you vomit. Easy to we will read everything from the psychological realism of THE CURRICULUM 175 Anton Chekhov and Jhumpa Lahiri, to the eerie First-Year Studies: Poetic Form/ expressionism of Franz Kafka and Haruki Murakami, to the Forming Poetry funhouse narratives of Donald Barthelme and Angela Carter, to the genre-bending work of Brian Evenson and Matthea Harvey Kelly Link. We will not only explore the logic behind stories Open, FYS—Year | 10 credits but also analyze their construction: the way point-of-view Radial, bilateral, transverse: symmetries that change over a decisions steer us through a work of fiction, the way life; radical asymmetries. Sea shells unfurl by Fibonacci. meaningful patterns drive us deeper, and the way Horn, bark, petal: hydrocarbon chains arrange in every sentence-level choices engineer a story’s lasting effect. conceivable strut, winch, and pylon, ranging over the But the course—a “user’s guide,” after all—is as much visible spectrum and beyond into ultraviolet and infrared. about writing as it is about reading. Students will bring Horseshoe crab, butterfly, barnacle, and millipede all what they are learning to their own work, initially by belong to the same phylum. Earthworms with seven hearts, responding to weekly writing prompts and later by sharing ruminants with multiple stomachs, scallops with a line of several longer pieces with their classmates during focused eyes rimming their shell like party lanterns, animals with peer-critique sessions. Students are encouraged to play two brains, many brains, none. —from The Gold Bug on the page, as we build a community determined to seek Variations by Richard Powers This FYS course is part out the borders of fiction. The class will culminate in a workshop, part an exploration of reading and writing in final portfolio, giving students the opportunity to collect, established, evolving, and invented forms. We will use An arrange, and reflect upon the diverse work that they have Exaltation of Forms, edited by Annie Finch and Katherine created over the course of the year. During the fall Varnes (featuring essays on form by contemporary poets), semester, students will meet with the instructor weekly alongside books by a wide array of poets and visual artists for individual conferences. In the spring, we will meet to facilitate and further these discussions. You will direct weekly or every other week, depending on students’ needs. language through the sieves and sleeves of the haiku, sonnet, prose poem, ghazal, etc. Expect to move fluidly between iambic pentameter, erasures, comic poems, and First-Year Studies: After Nature: On the lipogram (in which you are not allowed to use a Writing the Environment particular letter of the alphabet in your poem). Expect to Kate Zambreno complicate your notion of what “a poem in form” is. We Open, FYS—Year | 10 credits will utilize in-class writing exercises and prompts. During At the turn of the century, the philosopher Glenn Albrecht the fall semester, students will meet with the instructor coined the term “solastalgia” to refer to the distress weekly for individual conferences. In the spring, we will caused by climate change. In this yearlong FYS writing meet every other week. seminar and workshop, we will attempt, in a collective way, to write through our loneliness, anxiety, and melancholy Near to Life: The Art of the Short with climate change. Students will submit regular, weekly, Story notebook-like responses about paying attention to plants, animals, weather, and place, culminating in writing Brian Morton through their encounters with the outside world. These Open, Small Lecture—Fall | 5 credits responses will be catalyzed by reading ecological After reading a story by an older writer, the young James meditations that function, in many ways, as elegies that Joyce wrote, “Is this as near as [he] can get to life, I think through landscape, time, and our kinship with the wonder?” You could say that Joyce was pointing toward a nonhuman. The project is for our reading and writing to goal that many great fiction writers strive for: the goal of somehow counter, but also work through, despair with bringing to the page one’s unique way of apprehending life radical hope and imagination. The final conference project rather than relying on formula and convention. Something for each semester will be a finished piece of writing that like this striving lay behind Chekhov’s revolt against has been critiqued in several drafts over conference, traditional plot, Woolf’s search for new ways to render the collaborative small groups, and a full-group workshop over subtleties of consciousness, Stein’s experiments with the semester. The class will alternate biweekly individual language, Proust’s explorations of time and memory, and conferences with biweekly small-group activities, Garcia Marquez’s adventures in magical realism. In this including writing workshops, screenings, and field trips. lecture class, we’ll read short stories old and new, with the aim of learning both from those who’ve come before us and those who are working now. Writers we’re likely to encounter include Nana Kwame Adjei-Brenyah, Toni Cade Bambara, Anton Chekhov, Kate Chopin, Edwidge Danticat, F. Scott Fitzgerald, Mary Gaitskill, Ernest Hemingway, James Joyce, Franz Kafka, D. H. Lawrence, Carmen Maria 176 Writing Machado, Katherine Mansfield, Gabriel Garcia Marquez, and a film. Our objective is for you to write, revise, and Herman Melville, Lorrie Moore, ZZ Packer, George workshop at least one fully developed story each Saunders, Nafissa Thompson-Spires, and Bryan semester. Washington. We’ll also read criticism, letters, and a little bit of theory. Although the understanding that writers Fiction Workshop: The Short Story learn from other writers is inscribed in the very nature of the class, we’ll be guided above all by the idea that Rattawut Lapcharoensap imaginative writing is a domain of freedom—that the Open, Seminar—Year | 10 credits history of fiction is the history of writers shaping their Frank O’Connor claims that the short story is a form work in ways that previous generations couldn’t have characterized not by its length but by its subject imagined. matter—by its habitual interest in what he calls “submerged population groups,” people for whom a “normal society” is the “exception” rather than the Writing Colloquium “rule”—in short, outsiders, losers, the marginalized, the Open, Small Lecture—Fall | 2 credits dispossessed. In this yearlong course, we will begin with Each session of this multidisciplinary series of weekly O’Connor’s description and then move on to examine craft talks and generative writing sessions will be taught canonical, as well as contemporary, examples of the form by a different member of our writing faculty. For example, in hopes of generating a portfolio of stories about a April Mosolino will talk about “How to Tell a Lie”; Marie “submerged population group” of our own. Our readings Howe, about “The Art of the Sentence”; and Marek Fuchs, may include Edward P. Jones, Raymond Carver, James about “How to Get a Bead on Your Lead.” (See the Alan Macpherson, Grace Paley, Alice Munro, Denis complete list of talks in the syllabus, available on MYSLC.) Johnson, Junot Diaz, George Saunders, Lydia Davis, This series is meant to familiarize you with various aspects Sherman Alexie, and Charles Baxter, among many others. of craft in our different disciplines of fiction, poetry and We will divide our time between reading published works creative nonfiction, as well as to stimulate your own and examining each other’s efforts through workshops, writing. Each writer will assign readings and exercises for critical and generative writing exercises, and one-on-one their week. There will be a class board on MYSLC to post conferences. The fall semester’s reading will be taken from your assignments and for you to read and respond to each an anthology, so as to give students a survey of the form’s other’s writing. depth and breadth; in the spring semester, we will examine single-author short-story collections. Throughout, we will Fiction ask questions not only about craft and technique in short- story writing but also larger questions about the form itself and the traditions in which short-story writers are all Fiction Writing Workshop necessarily enmeshed. Mary LaChapelle Open, Seminar—Year | 10 credits Writing and Reading Fiction Nabokov stated that there are three points of view from which a writer can be considered: as a storyteller, as a Brian Morton teacher, or as an enchanter. We will consider all three, but Open, Seminar—Year | 10 credits it is with the art of enchantment that this workshop is If you're a young writer, these three habits are important most dedicated. We will walk through the process of to cultivate: the habit of writing a lot, the habit of reading a writing a story. Where does the story come from? How do lot, and the habit of trusting your imagination. The aim of we know when we are ready to begin? How do we avoid this class is to help with all three. We’ll meet once a week succumbing to safe and unoriginal decisions and learn to to talk about both published fiction and your own work in recognize and trust our more mysterious and promising an atmosphere of encouragement and support. Students impulses? How do our characters guide the work? How do won’t be looking for weaknesses in one another’s work; we come to know an ending, and how do we earn that instead, you’ll be helping one another identify your ending? And finally, how do we create the enchantment strengths and clarify your literary goals. We’ll also meet for necessary to involve, persuade, and move the reader in the one hour on each of the other four weekdays to write in ways that fiction is most capable. Our course will one another’s company. Writers whose work we’ll discuss investigate the craft of fiction through readings, include Nana Kwame Adjei-Brenyah, Anton Chekhov, discussion, and numerous exercises. In the second Percival Everett, F. Scott Fitzgerald, D. H. Lawrence, semester, we move on to explore dream narratives, the Katherine Mansfield, R. K. Narayan, Z. Z. Packer, Grace sublime, the absurd, and the fantastic. We study a Paley, Delmore Schwartz, and Nafissa Thompson-Spires. democratically chosen novel and, possibly, graphic fiction The only prerequisites for the class are an interest in writing a lot, an eagerness to read the work of your peers in THE CURRICULUM 177 a genuinely supportive way, and a willingness to get up Fiction Workshop: Portraiture early. (The four weekly writing sessions will begin at 8:30 Rattawut Lapcharoensap a.m.) Open, Seminar—Fall | 5 credits What is a character? How do you portray a person? And Fiction Workshop: The Art of Writing what does it mean to do so? The history of literature is full April Reynolds Mosolino of eponymous works—Don Quixote, Tristam Shandy, David Open, Seminar—Year | 10 credits Copperfield, to name but a canonical few—works that Ultimately, a piece of writing is judged by a single criterion: often seek to examine a single character or consciousness whether a reader finished it. This course is open to fiction over time. “Character studies,” or “portraiture,” might be writers who want to improve their writing by learning how another way of describing such writing, in which a writer to lead a reader from the beginning of a story through to brings all of his or her energies to bear upon the art of the end. In this workshop, students will create short representing “other people”—and in which the stories or continue works-in-progress to be read and machinations of “plot” take a relative back seat to discussed by their peers. Class sessions will focus on questions of “character” (and all that such a character constructive criticism of the writer’s work, and students might reveal). In this course, we will look at examples of will be encouraged to ask the questions with which all “literary portraiture” in the hopes of generating our own. writers grapple: What makes a good story? Have I Our readings will include classics of the form (Melville’s developed my characters fully, and does my language Bartleby, the Scrivener, Virginia Woolf’s Mrs. Dalloway, convey the ideas that I want? Have I crafted good Saul Bellow’s Herzog, Ralph Ellison’s Invisible Man, and sentences that will lead me inexorably to a great story? We Maxine Hong Kingston’s The Woman Warrior), as well as will talk about the writer’s craft in this class—how people relatively contemporary examples (Evan Connell’s Mrs. tell stories to each other, how to find a plot, and how to Bridge, John Williams’s Stoner, Dorothy Baker’s Cassandra make a sentence come to life. This workshop should be at the Wedding, Anne Carson’s Autobiography of Red, seen as a place where students can share their thoughts Junot Diaz’s The Brief and Wondrous Life of Oscar Wao, and ideas in order to then return to their pages and create Maggie Nelson’s Jane: A Murder, Svetlana Alexievich’s a completed imaginary work. There will also be short Voices from Chernobyl, J. M. Coetzee’s Elizabeth Costello, stories and novels that will set the tone and provide and W. G. Sebald’s The Emigrants). Throughout the course, literary fodder for the class. we will be asking questions about what makes a plausible character or interior life in writing, what tools are available at writers’ disposal in their attempts to portray “other The Basics, Not Excluding the people,” and what’s often at stake in such efforts. Through Virtuosic close readings of published work, individual conferences, Mary LaChapelle generative writing exercises, and workshops of each Open, Seminar—Fall | 5 credits other’s writing, students will work toward crafting and In this one-semester, fiction-writing workshop, you will presenting their own work of portraiture by the end of the acquaint yourselves with basic elements of fiction such as term. point of view, character, plot and structure, dialogue and exposition, detail and scene. We will study these elements The Rules—and How to Break Them: as put into practice by a wide range of virtuosic writers: Jamaica Kincaid, Donald Barthelme, ZZ Packer, James A Prose Process Class Baldwin, Raymond Carver, and Gina Bierault, among Nelly Reifler others. We will also familiarize ourselves with concepts Open, Large seminar—Fall | 5 credits | Remote related to the craft and imaginative process of fiction, In this class, we will interrogate and test the rules for such as counterpoint characterization, defamiliarization, writing fiction. We’ll look at how some writers explode narrative urgency, etc. The core of the course is the those rules. And we’ll see how we can do the same in our students’ own development as fiction writers. We have a own writing by asking questions. What does it mean when lot of fun trying numerous exercises and approaches to we ask what’s at stake in a story? What makes dialogue stories. We work closely in conference on your writing to believable? How do we create embodied characters? What develop your crafting of scenes, at first, and then meet in makes an ending resonate? How do we build cohesive small groups to workshop your first drafts. You are worlds? What is a beginning? An end? With an eye toward responsible for writing critiques of each other’s stories, as playfully disrupting the rules of fiction, we’ll use lists, well as participating thoughtfully and actively in the footnotes, erasures, numbering, and omissions; we’ll study workshop discussion. By the end of the semester, each of verb mood, unexpected points of view, and tense; and we’ll you will present at least one final developed story for our collaborate on other formulae that can help us and our workshop discussion. readers find new paths to our imaginations. Students will work with writing assignments, play writing games, and do 178 Writing in-class exercises to generate stories. Conference work screenwriting, sound art, contemporary music, and will focus on expanding and fine-tuning what we have literature—to help understand and analyze the works that written; each student will finish the semester with several we are creating. Creators from Welcome to Night Vale, complete pieces of fiction. We will read work by authors Mermaid Palace, Gimlet, Neon Hum, and Audible will join such as Maurice Kilwein Guevara, Yasunari Kawabata, Gari our discussions to talk about their stories and production Lutz, Philip K. Dick, Anton Chekhov, Elizabeth Crane, processes. The class will also act as judges for The Best Robert Lopez, Matthew Sharpe, Renee Gladman, D. Foy, New Artist category for the 2020 Sarah Awards—the first Stefanie Sobelle, and members of the Oulipo movement. international audio-fiction award in the United States. Throughout the semester, students will make works and The Short Story: Explorations create their own podcasts. At the end of the semester, students will pitch their fiction ideas to audio executives Open, Seminar—Spring | 5 credits | Hybrid Remote/In- at Audible—and who knows, maybe land a deal! Person What makes a story a story? What are the tools of fiction writers? How does one go from character to scene to The Rules—and How to Break them: A story? When does a story make you want to keep Prose Process Class reading—beyond its end? These are questions that we will Nelly Reifler explore in workshop. We’ll think about our stories from the Open, Large seminar—Spring | 5 credits | Hybrid Remote/ first draft to the revision, exploring questions of craft In-Person through weekly writing and reading assignments. The In this class, we will interrogate and test the rules for various forms of the short story (including the short short, writing fiction. We’ll look at how some writers explode the frame story, the episodic story, and microfiction, those rules—and we’ll see how we can do the same in our among others) will guide us as we create. Our reading list own writing by asking questions. What does it mean when includes writers such as Edward P. Jones, Steven we ask what’s at stake in a story? What makes dialogue Millhauser, Carmen Maria Machado, and Nana Adjei- believable? How do we create embodied characters? What Brenyah—writers whose use of point of view, character makes an ending resonate? How do we build cohesive development, setting, voice, and structure will hopefully worlds? What is a beginning? An end? With an eye toward provide inspiration. Students are expected to attend at playfully disrupting the rules of fiction, we’ll use lists, least two readings on campus, as well as to prepare a footnotes, erasures, numbering, and omissions; we’ll study reading list for conference. Typed critiques of student verb mood, unexpected points of view, and tense; and we’ll stories are also required, as is participation in workshop. collaborate on other formulae that can help us and our Last but not least: We’ll work on developing our readers find new paths to our imaginations. Students will constructive criticism—which, next to reading, is key to work with writing assignments, play writing games, and do becoming a strong writer. in-class exercises to generate stories. We will read work by authors such as Maurice Kilwein Guevara, Yasunari The Revolution Will Not Be Televised: Kawabata, Gari Lutz, Philip K. Dick, Anton Chekhov, Writing and Producing Audio Fiction Elizabeth Crane, Robert Lopez, Matthew Sharpe, Renee Gladman, D. Foy, Stefanie Sobelle, and members of the Podcasts Oulipo movement. Ann Heppermann Open, Seminar—Spring | 5 credits The goal of this class is to start a revolution. We are Stories and... currently in a robust audio industry, one that continues to Myra Goldberg do well even during this time of COVID-19. Even as audio Sophomore and Above, Seminar—Spring | 5 credits thrives, however, there is a problem: The field is dominated This class involves reading stories, telling stories, writing by nonfiction. Our goal is to change that. In this class, or recording stories, illustrating stories with photos or students will learn to write and produce groundbreaking drawings. It involves becoming collectors of the contemporary audio dramas and, eventually, attempt to storytelling all around us and analyzing its form, uses and sell them to a network. We will listen to works from pleasures. It includes oral and written storytelling, formal venerable podcasts, such as Welcome to Night Vale, The and informal, short and long, fantasies, tales, and gossip. It Truth, Homecoming, Black Tapes, and Bright Sessions. We also involves practice in being both a leader and a member will also listen to audio fiction from collectives like of a story group at the Wartburg Elder Care Residence in Mermaid Palace that explicitly address identity and nearby Pelham. The class will be scheduled for three sexuality to challenge the status quo. And we will create hours, which includes a group trip to and from Wartburg, our own critical discourse for contemporary audio where we will gather with residents either to be given or to drama—analyzing writings and essays from the fields of choose a prompt, prepare our stories, and share them. THE CURRICULUM 179 Homework will involve reading, working together as The Brief Encounter author/illustrator with a classmate, and calling on family Jo Ann Beard and friends to tell their stories. Anyone interested in their Open, Seminar—Fall | 5 credits own or other people’s lives, in leadership and followership, In this class, we will focus first on close reading and then in teaching, and in stories should consider this course. on close writing—developing small essays that encompass something very large. We will do much of our work on the The Unconscious, the Absurd, the microlevel, as opposed to the macrolevel, distilling ideas Sublime, and the Impossibly and language down to perfect sentences, one after Probable another, until we have created concise, beautiful works of art. We’ll read and discuss short, powerful pieces by Mary LaChapelle outside writers, studying their craft techniques in order to Intermediate, Seminar—Spring | 5 credits perfect our own styles and voices. Of our six conferences, This one-semester workshop will venture into unexpected four will be individual meetings and two will be group fictional territories: dream narratives, preposterous meetings held in the evening to watch and discuss situations served up matter-of-factly, unscary ghost documentary films. stories, speculative fiction, and virtuosic works that elude comprehension but deliver you to the profound and pleasurable edges of apprehension. To jar us from our Nonfiction Workshop: Cultural more prosaic and safe forms of fiction, we will begin the Criticism semester with a series of exercises inspired by the stories Cynthia Cruz of authors such as Gabriel Garcia Marquez, Franz Kafka, Open, Seminar—Fall | 5 credits Virginia Woolf, Borges, Nabokov, George Saunders, The tradition of the oppressed teaches us that the ‘state of Carmen Maria Machado, and Octavia Butler, as well as emergency’ in which we live is not the exception but the essays by Carl Jung, Immanuel Kant, and Charles Baxter. rule. —Walter Benjamin In this writing workshop, we will You will generate your conference work from the readings deepen our understanding of how to read, analyze, and and exercises, develop it through close critique in our articulate the world around us. Each week, we will read classes and conferences, present first drafts in preliminary and discuss a text that locates and articulates ruptures workshops, and, finally, submit your best work in a series and contradictions in the culture, works that provide new of formal workshops at the end of the semester. problems or solutions. Texts that we may read include the Prerequisite: One previous fiction workshop. work of Walter Benjamin, Mark Fisher, Kristin Ross, Sigmund Freud (from Civilization and Its Discontents), and Nonfiction Alenka Zupancic. In addition, each week we will also workshop students’ drafts of works in progress. The final project for this course is a 10-12 page work of cultural Wrongfully Accused criticism, a work of writing that may be focused on any Marek Fuchs aspect of contemporary society. Open, Seminar—Year | 10 credits Long-form investigative journalism has opened many doors, perhaps most literally in America’s penal system Writing Our Moment where journalists have regularly revealed—and freed—the Marek Fuchs wrongfully convicted. This class will set out to expose the Open, Seminar—Fall | 5 credits innocence (or confirm the guilt) of a man or woman It would be safe to say that journalism and nonfiction convicted of a controversial murder or other serious writing are currently undergoing a transformation. Our felony. Working collectively and using all of the tools and most storied publications are in a state of crisis. Big-city traditions of investigative journalism, the class will newspapers are failing by the day. Magazines are attempt to pull out all known and unknown threads of the imperiled. Book publishers face encroaching competition story to reveal the truth. Was our subject wrongfully from handheld electronic devices and online search accused? Or are his or her claims of innocence an attempt engines that do not recognize copyright laws. What is an to game the system? The class will interview police, ambitious, intuitive writer to do going forward? Quite prosecutors, and witnesses, as well as the friends and simply, harness all of the strengths of the storytelling past family of the victim and of the accused. The case file will to a new world of few space restrictions, more flexible be examined in depth. A long-form investigative piece will tones, and the ready presence of video, audio, and be produced, complete with multimedia accompaniment. animation—which can either enrich or encroach upon text—and comprehend the role of writer in such a way as to include and exploit new media. We will examine the relationship between literary nonfiction, which has always 180 Writing been cinematic in focus and flexible in tone, and the once Edgy Memoirs and future practice of journalism. Masters of 20th- Mary Morris century nonfiction such as V. S. Naipaul, Truman Capote, Open, Seminar—Fall | 5 credits | Hybrid Remote/In-Person Joseph Mitchell, and Roger Angell—steeped as they are in There are memoirs that people write when they’ve had a the journalistic practice of their time—can serve as great acting career or been president of a large country. guideposts to our uncertain future. We will examine, We read these for their historic/cultural value. Our interest through reading and writing, the ways in which the is in the story of their lives. But another kind of memoir formulas of journalism are transformed into literature. We tries to tell another kind of truth. Those are more personal will emphasize the importance of factuality and fact- stories of dysfunction, addiction, oppression, and checking and explore adapting modern storytelling to overcoming the odds. These stories may take us on video, photography, and sound. As the semester alcoholic journeys or tales of abuse into scary families and progresses, literary nonfiction will be both discovered and scarier souls. They can also be funny, uplifting, and reinvented to fit our new world. redemptive. In this workshop, we attempt to uncover that kind of truth; but this isn’t a class in autobiography; rather, Narrative Journalism in the Age of S- it’s a class in telling a story. What differentiates these Town and other Serialized Podcasts stories from other tales of grief and woe is that they are, Ann Heppermann quite simply, well-told. We will read memoirs by authors Open, Seminar—Fall | 5 credits such as Michael Ondaatje, Kathryn Harrison, Garred We are living in “The Golden Age of Narrative Audio.” Conley, Cathy Hong Park, David Sedaris, Nick Flynn, James Shows like This American Life, Radiolab, More Perfect, and McBride, and Jeanette Taylor, as well as memoirs by numerous other story-driven shows not only dominate recent Sarah Lawrence graduates such as T Kira Madden podcasts and airwaves but also have created the paradigm and Anna Qu. And we will attempt to write one of our own. for emerging shows like 99% Invisible, Love + Radio, and The emphasis will be on how to tell our stories. Exercises many others. We’ve also entered the age of the serialized and prompts will be designed to help jumpstart you. podcast with limited-run series like Missing Richard Simmons, Heaven’s Gate, S-Town, and others put out by Nonfiction Workshop: Reading and podcast companies like Gimlet, Panoply, First Look Media, Writing Personal Essays Pineapple Street Media, and WNYC Studios. This class will Clifford Thompson teach students the practicalities of how narrative radio Open, Seminar—Fall | 5 credits journalism in the age of serialized podcasting works, while This course will be divided into three units, each of which we explore what this narrative movement means for the will involve reading published essays and writing our own. future of audio journalism. Students will learn In the first unit, People You Know, students will write practicalities; e.g., pitching both multipart and narrative personal narratives involving people in their lives and read, stories, using the actual “call for stories” from studios and as models, published examples of such works; for shows like This American Life, Radiolab, and Nancy and instance, Phillip Lopate’s portrait of his family in the essay from podcasting companies like Pineapple Street Media “Willy.” In the second unit, called Place, we will read and and Gimlet; the fundamentals of how to record and mix write essays about authors’ relationships to particular stories using the latest digital editing technology; what places—less travelogues than investigations of the narrative editors expect in a series; and the skills dynamic between the person and the place; examples of necessary for a podcast internship. We will also reflect on published essays we will read for this unit are “Stranger in the theoretical and ethical considerations for this “Golden the Village,” by James Baldwin, and Annie Dillard’s essay Age of Narrative Audio.” We will ask questions, such as: “Aces and Eights.” The third unit is called The Personal in How does imposing narrative structures affect nonfiction the Critical/Journalistic (PCJ); a work in that genre storytelling? How do narrative shows deal with ethical combines personal reflection with consideration of an missteps? What does it mean to have “a voice”? Does it outside subject—for example, a favorite movie, or an event matter who gets to tell the story? (Answer on the last like 9/11. The interaction of the personal and the outside question is “yes.” We’ll discuss why.) Producers, editors, subject yields a third element, an insight that would not be and freelancers for This American Life, Radiolab, and possible without the first two elements; an example: Pineapple Street Media will visit the class to provide Jonathan Lethem’s personal essay about the movie, The insight into their shows and answer student questions. Searchers The class will also take a field trip to Gimlet or Pineapple Street Media to see podcasting in action. THE CURRICULUM 181 Nonfiction Workshop: Writing the vast territory. We will spend the semester looking at the Essay of Opinion more unusual, experimental, and lyrical inhabitants of this territory: personal essays masquerading as Brian Morton anthropological studies or paleontological meditations or Open, Seminar—Spring | 5 credits political screeds; blog posts from medieval Japan and This course is for students interested in writing essays Renaissance France; diaries; poems in the form of diary about political and cultural questions. Each week in class, entries; essays masquerading as poems; micro in addition to talking about your work, we’ll discuss two or nonfictions; feuilletons; prose poems passing themselves three published pieces (some of them long, some not so off as travelogues; koans; sermons; speeches; prayers. We long) that look at social questions from widely different will read a variety of writers from the past (among, but not points of view. Our aim will not be to arrive at a consensus limited to, Sei Shonagon, Montaigne, Sir Thomas Browne, as to which ideas have greater merit; rather, we’ll be Wilde, Pessoa, Gandhi, Mandelstam, Elizabeth Bishop, V. S. examining the rhetorical strategies by which different Naipaul, and the unknown genius who wrote the Book of writers seek to persuade. Writers we’re likely to read Job) and from the present (John D’Agata, Bhanu Kapil, include James Baldwin, Ta-Nehisi Coates, Joan Didion, Anne Carson, Jonathan Franzen). After the first few Ralph Ellison, Henry Louis Gates Jr., Jeannie Suk Gersen, weeks, we will alternate, week-by-week, sessions Vivian Gornick, Irving Howe, Laura Kipnis, John discussing reading with sessions discussing student work. McWhorter, Dwight Macdonald, George Orwell, Claudia Conference work will comprise discussion of reading Rankine, David Foster Wallace, and Zadie Smith, as well as tailored to individual students and the equivalent of two a few earlier thinkers such as G. K. Chesterton, Frederick large pieces of writing in whatever form student and Douglass, William James, John Stuart Mill, and Virginia instructor agree upon. Woolf. Given the range of writers and opinions we’ll be reading, it’s safe to say that everyone in the class will be encountering many ideas they consider objectionable over Workshop in Personal Essay the course of the semester. So, if you believe you can be Jacob Slichter harmed by exposure to points of view that differ starkly Open, Seminar—Spring | 5 credits from your own, it would be best not to register for this We write personal essays to learn about ourselves, to face class. Otherwise, it’s open to all interested students our demons, to understand what entangles us, to expose the lies that we have allowed ourselves to believe, to Nonfiction Laboratory recognize what we are running away from, to find insight, and/or to tell the truth. This workshop is designed for Stephen O’Connor students interested in doing that work and learning to Open, Seminar—Spring | 5 credits craft what they have written so that their readers can This course is for students who want to break free from share in that learning. We will learn to read as writers, the conventions of the traditional essay and memoir and write as readers, and, where relevant, draw connections discover a broader range of narrative and stylistic between writing and other creative fields such as music possibilities available to nonfiction writers. During the first and film. half of the semester, students will read and discuss examples of formally innovative nonfiction by writers such as Claudia Rankine, Nathalie Sarraute, and George W. S. Nonfiction Workshop: The World and Trow. These readings will serve as the inspiration for brief You assignments that will be read aloud and discussed each Clifford Thompson week. During the second half of the semester, students Open, Seminar—Spring | 5 credits will workshop longer pieces, which they will have written in This course will be divided into three units, each of which consultation with the instructor as a part of their will involve reading published essays and writing our own. conference work. Required texts: The Next American The first unit, Demons, will focus on writers’ personal Essay, edited by John D’Agata, and Multiple Choice, by challenges, from mental illness (as in Suzanna Kaysen’s Alejandro Zambra. All other readings are in the PDF memoir, , Interrupted) to migraines (the subject of packet. Joan Didion’s essay “In Bed”). The second unit focuses on braided essays; the class will read essays whose authors Experiments With Truth: Nonfiction juxtapose seemingly disparate topics in forming coherent Writing From the Edges works, such as Melissa Febos’s “All of Me,” which reveals how writing, singing, tattoos, and heroin addiction all Vijay Seshadri relate to the need to deal with pain. For the final unit, Open, Seminar—Spring | 5 credits Critical Survey, we will read and write critical takes on Nonfiction writing is defined not by what it is but by what works or figures in particular fields; for example, James it is not. It is not fiction; but what it is not comprehends a 182 Writing Agee’s essay, “Comedy’s Greatest Era,” about silent film student will research an aspect of the living world and comedians and Toni Morrison’s (very) short book, Playing teach the rest of us what they have learned. And we will in the Dark, about race as it pertains to early American write poems that incorporate that knowledge. We will read literature. books of poems but also watch films, take field trips, and meet with each other outside of class in weekly poetry A Question of Character: The Art of dates. By the end of the class, my hope is that each of us will have a greater understanding of the great organism the Profile that we call Earth and will create a collection of poems Alice Truax that engage the questions that our class raises: What is Open, Seminar—Spring | 5 credits time? What is death? What is Eden? Where is the garden Any writer who tries to capture the likeness of now? Who are the other organisms? How have we, as a another—whether in biography, history, journalism, or art species, affected the other organisms? How have we criticism—must face certain questions. What makes a affected the oceans, the Earth, the air? How can poetry good profile? What is the power dynamic between subject address the planetary emergency? Required for this class: and writer? How does a subject’s place in the world intellectual curiosity, empathy, and a willingness to determine the parameters of what may be written about observe the world, to pay attention, and to write poetry him or her? To what extent is any portrait also a self- that matters. This is a class for experienced writers, as portrait? And how can the complexities of a personality be well as for those who want to give writing poetry a try. All captured in several thousand—or even several are welcome. hundred—words? In this course, we will tackle the various challenges of profile writing, such as choosing a good subject, interviewing, plotting, obtaining and telescoping Reading and Writing Poetry: A biographical information, and defining the role of place in Workshop the portrait. Students will be expected to share their own Jeffrey McDaniel work, identify what they admire or despise in other writers’ Open, Seminar—Year | 10 credits characterizations, and learn to read closely many masters We will read, roughly, a book of poetry each week and of the genre: Daphne Merkin, Malcolm Gladwell, Gay discuss the reading in detail. We will read, not Talese, and Janet Malcolm. We will also turn to shorter chronologically, mostly American poets from the 19th forms of writing—personal sketches, brief reported (Dickinson and Whitman), 20th (Hayden, Bishop, Lowell), pieces—to further illuminate what we mean when we talk and 21st centuries (Terrance Hayes, D. A. Powell, and about “identity” and “character.” The goal of this course is others). There will be critical response assignments, in- less to teach the art of profile writing than to make us all class exercises, small-group meetings, and writing more alert to the subtleties of the form. prompts in order to generate new material. As the fall semester progresses, we will begin to workshop student Poetry writing in class in addition to discussing published work. Students will be expected to write (and rewrite) with passion and vigor, turning in a new first draft each week. At Ecopoetry the end of each semester, students will turn in a portfolio Marie Howe of poems, as well as a packet of revisions, so we can chart Open, Seminar—Year | 10 credits the evolution of each poem. Students will also write a five- In this poetry class—a yearlong school of poetry and the page paper each semester, comparing two poets from the living world—we will consider the great organism Gaia, of syllabus. If you want to read and think about poetry, be a which we are a part. We will read and write poems every part of a community of writers, and write (and re-write) week. We will ask questions: When did we begin to think of your own poems and grow, then this will be a good class nature as apart from us? Why did we begin to speak of the for you. animals as if we are not also animals? What are the stories and myths that have determined our attitude toward what Hybrids of Poetry and Prose: A we are and what we believe? We will read some of these stories and myths (myths of creation; Eden, the lost Multigenre Creative Writing garden). We will read the long and rich tradition of poetry Workshop addressing itself to this subject, from the early indigenous Jeffrey McDaniel peoples through the Zen monks and Wordsworth and right Open, Seminar—Fall | 5 credits up through Gary Snyder to utterly contemporary poets One of the exciting literary developments in recent years is writing right now. We will read books and articles that the plethora of work that disrupts the notion of genre from teach us about the other animals and living entities that writers such as Eula Biss, Jenny Offill, and Benerner L . In we call plants and trees and planets and galaxies. Each this workshop, we will read a book each week and consider THE CURRICULUM 183 architecture, diction, association, metaphor, and other That’s the miracle of it. How do we do that? In this course, issues of craft. Students will be required to bring in a new we will immerse ourselves in the practice of the art of piece of writing each week and to write critical responses poetry, focusing on a specific aspect of the art each week: to the reading. This class is a good fit for students who are image, metaphor, diction, syntax, musicality, tone, etc. We comfortable reading 100-200 pages a week in addition to will write a poem every week and read poems that will generating their own creative writing. For workshop, instruct and inspire us. (Poet Spencer Reece calls books of students may submit poetry, fiction, creative nonfiction, or poems “Sacred Suitcases”—you can take them anything in between. We will aim to locate a piece’s anywhere.) We will read each other’s poems. We will read heat—its linguistic, figurative, and musical energy—and essays written by poets. We will write observations in our consider how that energy might be developed, or journals. We will look at visual art, listen to music, watch maximized, in subsequent drafts. Half of each class will be films. If you have never taken a poetry class before, this devoted to discussing the weekly reading; the other half class is for you. If you have taken poetry classes before, will be spent discussing student work. Occasionally, we this workshop is for you. I ask for generosity of spirit, will do in-class writing exercises. There will be some take- curiosity, respect, and commitment. We form a community home writing prompts. For conference, students will work of artists and, within that community, find support and on their own hybrid projects. At the end of the semester, strength. We will have a wonderful time. students will turn in a revised, final portfolio with at least two earlier drafts for each piece, as well as a separate Poetry: On and Off the aP ge hybrid project. Jeffrey McDaniel Open, Seminar—Spring | 5 credits Explorations in the Poetic Voice We will read a book of poetry each week, a mix of work Dennis Nurkse from the late 20th century as well as more recent texts. Open, Seminar—Fall | 5 credits | Remote We will focus on poets with a strong sense of voice. We will Contemporary poets face a dazzling range of stylistic spend half of each class discussing the weekly reading and options. This course is designed to give you a grounding in the other half of class discussing student work. At the end the practice of modern poetics and to encourage you to of the semester, students will turn in a portfolio of poems, innovate. We’ll look at point of view, tone of voice, imagery, with at least two earlier drafts for each poem. In addition the poetic line, meter, and stanza form. We’ll examine the to the reading and writing for class, students will have two artistic thinking behind free verse, contemporary major conference projects. Before spring break, each experimental idioms, the sonnet, the ghazal, and haiku. student will theatrically present a poem by a dead poet. We’ll read widely—foundational masters like Elizabeth This is more than just memorizing and reciting a poem; Bishop and Gwendolyn Brooks, contemporaries like rather, it is knowing a poem so well that you can speak it as Terrance Hayes and Yusuf Komunyakaa, and poets from if the words are springing from you. Later in the term, radically different cultures. We’ll explore The Vintage Book students will pick a location on campus and then of African American Poetry, The Penquin Anthology of theatrically present one of their own poems in that 20th-Century American Poetry (Rita Dove), The Vintage specific location. Both of these conference projects will Book of Contemporary World Poetry, The Penguin Book of require additional rehearsal time beyond class time. Think the Sonnet, prose poems, fables, proverbs, and song lyrics. of the additional effort to be like group conferences, every We’ll discuss how to read poetry as practitioners—how to other week. see and hear what’s on the page. The strong, consistent focus will be on students’ own poems. Class members will Courses offered in related disciplines this year are listed be encouraged to find their own paths; reading below. Full descriptions of the courses may be found under assignments will often be individual. The class will be part the appropriate disciplines. humanistic workshop, part writing community, part critical inquiry. Expect to write freely and read voraciously. Live Time-Based Art (p. 34), Beth Gill, John Jasperse, Dean This course is open to anyone with a commitment to Moss Dance poetry. The Environmental Imagination: Perspectives From the Social Sciences, Environmental Humanities, and the Arts (p. 42), Charles Zerner Environmental Studies To Hold the Unsayable: A Poetry First-Year Studies: Media Sketchbooks (p. 49), Robin Workshop Starbuck Filmmaking and Moving Image Arts Marie Howe Writing the Feature Screenplay (p. 56), Maggie Greenwald Open, Seminar—Spring | 5 credits Filmmaking and Moving Image Arts A true poem can’t be paraphrased. In bright and Writing the Short Film Adaptation (p. 56), K. Lorrel interesting language, a poem seems to hold the unsayable. Manning Filmmaking and Moving Image Arts 184 Writing Screenwriting: Tools of the Trade (p. 55), K. Lorrel Manning Filmmaking and Moving Image Arts Writing for Television: From Spec Script to Original TV Pilot (p. 55), Marygrace O’Shea Filmmaking and Moving Image Arts Beginning Italian: Viaggio in Italia (p. 80), Tristana Rorandelli Italian Intermediate Italian: Modern Italian Culture and Literature (p. 80), Tristana Rorandelli Italian First-Year Studies: Romanticism to Modernism in English- Language Poetry (p. 85), Neil Arditi Literature Theatre and the City (p. 86), Joseph Lauinger Literature Studies in Ecocriticism: The Idea of Nature in the Western Tradition (p. 87), Eric Leveau Literature Milton, Blake, and the Bible (p. 87), William Shullenberger Literature Elective Affinities inont C emporary Poetry (p. 89), Neil Arditi Literature Toward a Theatre of Identity: Ibsen, Chekhov, and Wilson (p. 89), Joseph Lauinger Literature Literature in Translation: 20th-Century Italian Literature and Culture (p. 91), Tristana Rorandelli Literature Conscience of the Nations: Classics of African Literature (p. 92), William Shullenberger Literature Racism and the Media in America (p. 121), Andrew Rosenthal Politics First-Year Studies: The Senses: Art and Science (p. 125), Elizabeth Johnston Psychology Theories of the Creative Process (p. 131), Charlotte L. Doyle Psychology The Sociology of Sports (p. 144), Shahnaz Rouse Sociology Intermediate Spanish I: Latin American and Spanish Visual Culture (p. 146), Ximena Venturini Spanish 1,001 Drawings (p. 166), John O’Connor Visual and Studio Arts Senior Interdisciplinary Studio (p. 171), John O’Connor, Riad Miah Visual and Studio Arts THE CURRICULUM 185 GRADUATE COURSES OPEN TO to better prepare for the challenges of the classroom. Open to Juniors and seniors. This course may be taken for three ADVANCED UNDERGRADUATE or five credits. STUDENTS Foundations of Education In addition to our undergraduate curriculum, we offer select graduate courses across our graduate degree Denisha Jones programs in the arts; health, sciences, and society; Intermediate, Large seminar—Fall | 5 credits and children, childhood, and education. Limited spaces in This course will explore multiple lenses through which we these courses are open to juniors and seniors with some view the concept of education, including theoretical, prior experience in related areas of study at the historical, political, sociological, and cultural perspectives. undergraduate level. Interested students should email We will begin by considering the historical roots of faculty instructors for additional information on these contemporary education, with particular emphasis on the courses and/or to schedule an interview. Most graduate history of public education in the United States. Drawing level courses are between one and three credits, although on a variety of readings, films, and in-class projects, we some are five credits. will examine constructs of diversity including race, class, culture, language, ability, gender, and and discover ways to create an inclusive learning environment ART OF TEACHING for students and their families. The work of John Dewey and other progressive educators will provide a basis for The Sarah Lawrence College Art of Teaching program is an looking at democratic ideals and “pendulum swings” in integrated Master of Science in Education (MS Ed) American education, including current debates concerning program of study that leads to dual New York State standards, testing practices, and political agendas. certification in Early Childhood and Childhood Education Throughout the course, students will be asked to reflect on (birth to sixth grade). their own school experiences and fieldwork observations in order to make connections between historical and Children, Families, and Identity current educational practices. Open to undergraduate Denisha Jones juniors and seniors. This course may be taken for three or Advanced, Seminar—Spring | 5 credits five credits. Many factors contribute to the socialization of children. Teachers’ understandings of family culture and the interconnections between identity and learning are crucial Emergent Curriculum I and II to children’s success in the classroom and central to the Jerusha Beckerman, Denisha Jones content of this course. We will study how families affect Advanced, Seminar—Year | 10 credits the development of children, for no other unit of analysis This is a yearlong course in which children’s interests and more richly displays gender, social, and cultural factors approaches to learning are at the forefront. Central to the and their influence on individual behavior and course is understanding how to create a curriculum that is development. Today, children spend more time than ever driven by ideas—striving for wholeness, integration, before in early childhood programs and grade schools. We coherence, meaning—and focused on assisting children in will investigate how families and schools provide a applying knowledge and thinking to real-life problems. framework for the exploration of the social world and Classroom design and organization, media and materials, socialize children according to cultural norms. Adverse and approaches to teaching and learning across childhood experiences, trauma, and learning are disciplines will be discussed, with an emphasis on the arts, intertwined in the context of the child’s social, emotional, sciences, and humanities. We will learn how to develop intellectual, and physical development. In order for curricula with multiple entry points. We will reflect on teachers to be equipped to help their students in the areas ways of knowing in both our own learning and that of the of stress regulation and safety, we will review the impact children and explore teaching strategies that expand of toxic stress as well as the range of environmental children’s knowledge and modes of thinking and learning. factors that inhibit children’s development and learning We will discuss curriculum and teaching strategies for (including poverty and violence). We will also examine individual subject areas, with an emphasis on the racial and gender identity development in young children. connections among disciplines and building toward an Through readings and case-study analyses, students will interdisciplinary approach to curriculum and instruction. explore the importance of teachers’ understanding of the The roles of the teacher as observer, provisioner, complexities of the lives of children and families in order collaborator, and facilitator will be discussed. During the year, we will engage in hands-on inquiry in workshop settings and take multiple local field trips to environmental centers, historical sites, and arts 186 Child Development museums—reflecting on our own learning in order to draw differentially applied in the United States according to the implications for classroom practice. We will discuss how client’s race/ethnicity, class, and gender and how children’s interests and questions connect to the large clinicians might effectively address such disparities in ideas and questions at the core of the subject-matter diagnosis and care. Students will complete conference disciplines. Value will be placed on enabling in-depth projects related to the central themes of our course and inquiry, experimentation, and discovery and on may opt to work at the Early Childhood Center or a local establishing classroom communities based on community program that serves children or adolescents. collaborative learning and rooted in social justice. National Limited spaces open to undergraduate juniors and seniors. and state standards, including the New York State Prior college-level coursework in psychology is required. Standards for the Arts, Social Studies, and Sciences, will be critiqued and integrated into our work. By the end of the Theories of Development year, students will create their own multidisciplinary curriculum plan, which will become a resource for Barbara Schecter colleagues and Art of Teaching alumni. Denisha Jones will Advanced, Seminar—Fall | 5 credits teach this course in the fall; Jerusha Beckerman in the “Knowledge is there in the seeing.” What we observe when spring. we look at children is related to adult assumptions, expectations, and naïve theories that we carry with us from our own families and childhoods. How are those CHILD DEVELOPMENT theories related to the ways in which theorists have framed their questions and understandings of children’s The MA Child Development Program takes a progressive experiences? Competing theoretical models of Freud, approach to studying child development by exploring the Skinner, Bowlby, Piaget, Vygotsky, Werner, and others have lives of children as the interaction of intellectual, shaped the field of developmental psychology and have emotional, social, and imaginative streams. The program been used by parents and educators to determine child- combines in-depth study of primary theoretical care practice and education. In this course, we will read perspectives with practical fieldwork, preparing you to the classic theories in their primary sources support the complex needs of children and their families. (psychoanalytic, behaviorist, attachment, and cognitive- developmental) as they were originally formulated and in Clinical Perspectives: Challenges to light of subsequent critiques and revisions. Questions that Child and Adolescent Development we will consider include: Are there patterns in our Deanna Barenboim emotional thinking or social lives that can be seen as Advanced, Seminar—Spring | 5 credits universal, or are these always culture-specific? Can life This seminar will focus on challenges that arise in child experiences be conceptualized in a series of stages? How and adolescent development, drawing upon approaches in else can we understand change over time? We will use clinical psychology, developmental psychology, and theoretical perspectives as lenses through which to view cultural psychology/clinical ethnography. We will analyze different aspects of experience—the origins of wishes and how particular psychological experiences and behaviors desires, early parent-child attachments, intersubjectivity have been typically understood as abnormal or in the emergence of self, symbolic and imaginative pathological. We will also explore critical commentaries on thinking, and the role of play in learning. For conference clinical diagnosis and treatment in order to analyze the work, students will be encouraged to do fieldwork at the merits and drawbacks of the common approaches to these SLC Early Childhood Center (ECC) or in another setting issues. Students will learn about the clinical categories of with children, as one goal of the course is to bridge theory conditions such as ADHD, autism, depression, and anxiety, and practice. Students who are interested in completing a as compiled in the Diagnostic and Statistical Manual of semester-long, weekly fieldwork placement at the ECC as Mental Disorders (DSM-V). We will look at case studies to part of their conference work may have the opportunity to illuminate the causes, symptoms, diagnosis, course, and do so. NOTE: ECC fieldwork positions are limited due to treatment of such psychological conditions in childhood COVID-19 precautions. If you are interested in a potential and adolescence. Through reading firsthand accounts ECC placement, you will need to contact the ECC Director, written by patients, families, and advocates, as well as Lorayne Carbon, as soon as you are registered for this cross-cultural studies that examine the neurodiversity of class and prior to classes beginning. If you are able to psychological experience, students will also be invited to secure an ECC fieldwork placement, please note that this question the universal applicability of Western clinical will be a semester-long commitment. You will be expected approaches that rest on particular assumptions about to attend your scheduled ECC placement for four hours normality, behavior, social relations, human rights, and each week, work closely with your classroom teacher, and health. We will also explore how diagnostic processes and psychological and psychiatric care are, at times, THE CURRICULUM 187 actively engage in your role as a classroom assistant. movement. Students will learn to embody and observe Limited spaces open to undergraduate juniors and seniors. foundational components of physical action by exploring Prior college-level coursework in psychology required. concepts in the categories of Body, Effort, Space, and Shape. Students also will discover how to vary movement dynamics and investigate the ways in which the body can DANCE/MOVEMENT THERAPY organize parts into a whole and project into space. LMA provides insight into one’s personal movement Dance/movement therapy is the psychotherapeutic use of preferences and increases awareness of what and how movement to further the emotional, cognitive, physical, movement communicates and expresses. Rigorous inquiry and social integration of the individual. and exploration of contextual and historical factors related Therapy is based upon the empirically supported premise to Rudolf von Laban’s era will be examined, both that the body and mind are interconnected and interact in conceptually and in embodied ways. Limited spaces open both health and illness. Body movement provides both a to undergraduate juniors and seniors. means of assessment and a mode of intervention for dance/movement therapists, working either with Human Growth and Development individuals or with groups, in the treatment of Elise Risher developmental, medical, social, physical, or psychological Advanced, Seminar—Fall | 3 credits impairments. This course will focus on select features of development in infancy and early childhood. In particular, students will Psychopathology explore the developmental basis of mirroring; attunement Alma Watkins and kinesthetic empathy; and the implications for social, Advanced, Seminar—Spring | 3 credits cognitive, and emotional functioning. Students will gain a This course is designed to provide students with a base of broader understanding of the relationships between early knowledge in psychopathology and to familiarize students childhood experiences and behavior, which will provide a with current conceptions and empirical findings in foundation for the use of developmental intervention in psychopathology research. Beginning with the question of the practice of dance/movement therapy. Limited spaces how abnormality is defined, we will explore contemporary open to undergraduate seniors. perspectives on psychopathology and focus more specifically on psychological disorders, their development and treatment, and controversies within the field. DANCE MFA PROGRAM Additionally, this course will focus on the physiologic and motoric manifestations of illness, the role of dance/ The Sarah Lawrence College MFA in Dance is based on the movement therapy in treatment, and challenges particular premise that the art of dance is an integration of body, to dance/movement therapy intervention. This course will mind, and spirit learned through creative, technical, and use the current version of the Diagnostic and Statistical intellectual practices. Manual of Mental Disorders, the DSM-5. Reading of the Students are exposed to vital aspects of the art as current manual will include discussion of recent changes performers, creators, and observers and are encouraged to and the impact on diagnostic understanding and study broadly, widen their definitions of dance and treatment formulation. Limited spaces open to performance, and engage in explorations of form and undergraduate seniors. function. The program combines seminars in reading, writing, and research; choreographic inquiry; and a daily Movement Observation I physical practice chosen from contemporary dance, Susan Orkand classical ballet, African dance, yoga, t’ai chi ch’uan, and Advanced, Seminar—Fall | 3 credits studies in world dance. All students also study experiential This course is an introduction to Bartenieff undamentF als anatomy, dance history, lighting design and stagecraft, and and Laban Movement Analysis (LMA), with a primary music for dancers. focus on dance/movement therapy. The relationship of Bartenieff undamentF als, development, and Effort-Space- Dance Teaching Methods Shape will be introduced. Concepts of anatomy and Jennifer Nugent kinesiology will support these frameworks. The class is the Component—Fall first in a series of three on movement observation and Throughout the semester we will work collectively to assessment skills and is designed to familiarize the prioritize questions and dialogue that support an student with the Laban concepts and principles for the understanding of what movement styles we are drawn to, observation and description of movement, integrating how we create, interpret, and organize ideas in movement other relevant perspectives for understanding human and how we might begin to share this information with 188 Human Genetics each other. Students will develop a self practice and dynamic, cognitive, emotional, cultural and socio- investigate the intersection between this personal economic factors that may impact an individual's movement study and teaching inquiries as a means to engagement in genetic counseling, as well as imagine and develop a class that is supportive to and psychodynamic, cognitive-behavioral, and mindfulness inclusive of multiple movement levels and abilities. based approaches to building an empathic and productive Working to describe the intangible and the experience of working alliance. Relevant history, theory, and evidence- movement itself we will refine how we filter this inside the based research will be examined and explored through dance class and how it might be initiated or shared to relevant case studies. Students will have the opportunity enhance one's ability to access movement, increase to formulate case summaries considering contextual awareness, understand rhythm, technical structures, factors and working alliance. Advanced/graduate level perception, and humanity within the exchange of teaching. course. Open to interested juniors and seniors with permission of instructor. HUMAN GENETICS Direct-to-Consumer Genetic Testing: Home of the nation’s first—and still the largest—program Past, Present and Future in genetic counseling, Sarah Lawrence College has trained Laura Hercher more genetic counselors than any other academic Advanced, Seminar—Spring | 2 credits institution in the world. This celebrated program Direct-to-consumer genetic testing is a fast-growing and integrates education, health care, and humanism as it expanding marketplace. Many assume that DTC options prepares genetic counselors to work in a growing, dynamic will play a big role in integrating genetics into society, for field. better and worse. Historically, clinical providers of genetic medicine have cast a cold eye on the commercial Students learn that the field of genetics now includes companies selling unmediated access to genetic testing, genetic disorders ranging from rare diseases to prevalent as have government regulators. Today, most positions are conditions such as , Alzheimer’s, more nuanced and the types of testing that are on offer are and diabetes. Each student is placed at a total of seven more varied. Using lecture, case studies and guest sites from a wealth of fieldwork options at nearly 50 speakers, we will examine a variety of the tests and modes centers in the New York City area. As the hub of of access often lumped together in the DTC bucket, and international growth in the field, the College recruits to its consider the risks and benefits of online access to genetic faculty top scientists, physicians, and genetic counselors testing, the regulatory options, and the role that genetic from the area’s genetic centers and brings leading counselors should play in pre- and post-test counseling for researchers and speakers to campus weekly to discuss DTC results. Advanced/graduate level course. Open to current topics. Each student also develops a community interested juniors and seniors with permission of outreach project, targeting an audience to educate about a instructor. particular set of relevant genetic information. Understanding Barriers and Building THEATRE MFA PROGRAM Alliance in Genetic Counseling Meghan Jablonski The Sarah Lawrence College Theatre MFA Program is Advanced, Seminar—Spring | 2 credits focused on deep collaboration, community building, and In even brief and time limited work, establishing a interdisciplinarity. We support performance and theatre mutually respectful and empathic working alliance can be artists through a curriculum crossing the boundaries of key to the effective delivery of counseling. In practice, design, acting, directing, management, performance, each individual carries the context of their larger technology, writing, producing, voice, movement, civic experience into the consulting room, which may present engagement, and much more. Students have the barriers to their engagement in counseling. Through advantage of taking classes within the music and dance considering factors that may impact an individual’s programs, as well to supplement their practice. engagement - such as their relational experiences; spiritual beliefs; experiences with medical care; family and Directing: The Expanded Field personal values; trauma histories; experiences with racial, Adil Mansoor socio-economic and/or gender discrimination, etc. - Advanced, Component—Year students will consider ways of building a mutually What does a director do? How do we expand our constructed working alliance through which each client is understanding of direction? Directing: The Expanded Field best able to engage in the content of genetic troubles these questions by exploring the responsibilities, counseling. In this elective seminar, students will explore challenges, and opportunities available to a theatre THE CURRICULUM 189 director. The fall semester will focus on skills for directing “should” look like, in order to locate their own authentic scripted plays, including text analysis, collaboration, ways of seeing and making. In other words, disarm the concept development, and staging. The spring semester rational, the judgmental thinking that is rooted in a will expand the director’s role by considering various concept of a final product and empower the chaotic, artistic methodologies, including socially engaged art, spatial, associative processes that put us in immediate devised and ensemble-generated theatre, and lecture- formal contact with our direct experience, impressions, performance. Throughout the year, students will learn and perceptions of reality. Emphasis on detail, texture, and through readings and media created by contemporary contiguity will be favored over the more widely accepted, directors, artists, and thinkers from a variety of lived reliable, yet sometimes limiting Aristotelian virtues of experiences and disciplines. Students will practice and structure and continuity in the making of meaningful live experiment with directing methods through writing performance. Readings will be tailored to fit the thinking of assignments, presentations, scene work, and iterative the class. We will likely look at theoretical and creative performance experiments. Students will perform in one writings of Gertrude Stein, George Steiner, Mac Wellman, another’s scenes and collaborate on multiple projects. Maria Irene Fornes, Adrienne Kennedy, Mircea Eliade, Rooted in justice-based pedagogy and community-driven Kristen Kosmas, Richard Maxwell, and Roland Barthes, as care, the course aims to challenge and expand the well as work that crosses into visual-art realms and radical boundaries of directing performance. Limited spaces open scientific thought from physicists David Bohm and F. to undergraduate juniors and seniors. David Peat. The course will be conducted in workshop fashion, with strong emphasis on the tracking and Directing Brechting documenting of process. Limited spaces open to undergraduate juniors and seniors. By permission of the Kevin Confoy instructor. Open, Component—Year This hands-on directing class offers directors a vital technique and way of working based upon Bertolt Brecht’s Directing in Context: Socially theories of dialectical theatre. Brecht was a social activist. Engaged Practice He used theatre to affect change. Brecht’s plays and Adil Mansoor techniques changed the way we look at theatre and view Advanced, Component—Year the world. His approach continues to shape the way This course will explore socially engaged art (SEA) from directors dissect text, incorporate production elements, the lens of directing theatre. Throughout the first and create dynamic theatre productions. Students in semester, students will develop an understanding of what Directing Brechting will use Brecht’s plays and plays by SEA can look like. Readings will include Education For contemporary theatre makers that he deeply Socially Engaged Art by Pablo Helguera, Artificial Hells by influenced—like Larry Kramer, Moises Kaufman, Anna Claire Bishop, Social Works by Shannon Jackson, and Deavere Smith, and Suzan Lori-Parks, among others—for a Tactical Performance: Serious Play and Social Movements personalized directing technique built upon an expansive by L. M. Bogad. We will explore contemporary, socially- Brechtian model. Students will direct scenes from chosen engaged artists and the context within which they are plays and create and mount their own original work; they making their work. For example, when we study Simone will act in scenes directed by their classmates for in-class Leigh’s Free People’s Medical Clinic, we will also study presentations. The class is open to serious directors, historical and theoretical texts about the Blank Panthers, actors, designers, writers, poets, etc. who are interested in mutual aid, healthcare in America, and performing care. developing an approach to work and to theatre that is Second semester will focus on student research and rooted in activism and social change. This class meets project development. Students will deep dive into research twice a week. as a first step toward developing possible SEA projects. Students will build comprehensive reading lists (working Creative Impulse: The Process of with librarians and instructors) and begin to develop a Writing for the Stage research practice. There will be opportunities to present, facilitate conversations, and respond to each other’s ideas Sibyl Kempson throughout the second semester. This class intentionally Advanced, Component—Year will not ask students to facilitate SEA projects In this course, the vectors of pure creative impulse hold understanding that the work takes time, meaningful sway over the process of writing for the stage—and we relationships, and care. Throughout the year, we will write ourselves into unknown territory. Students are consistently consider how theatres, performers, and encouraged to set aside received and preconceived dramaturgy intersect with, and diverge from, examples of notions of what it means to write plays or to be a writer, SEA. Limited spaces open to undergraduate juniors and along with ideas of what a play is “supposed to” or seniors. 190 Women's History 3D Dramaturgy: Finding Voice Diversity and Equity in Education: Through the Generative Process Issues of Gender, Race, and Class Mallory Catlett Nadeen M. Thomas Advanced, Component—Year Advanced, Seminar—Fall | 5 credits 3D Dramaturgy is a mechanism for uncovering the The education system is a central institution in the connections among the artist, the source material/subject socialization of young people and the maintenance of the matter, and the moment of making—and for generating modern nation state. Schools support meritocratic models forms that reflect this unique confluence. In this course, of society by providing opportunities for social mobility. students will create an artist statement focused on the Paradoxically, schools also reproduce gender, racial, and central questions/interests of their practice, their sense of class inequality. In this course, we will examine the roles purpose, and their relationship to their audience. Each that schools play in the transmission of culture, formation student will choose a piece of source material that allows of identity, and reproduction of social structures. Paying him or her to explore these questions and relationships in special attention to gender and its intersection with other three dimensions. The course will be split into theoretical social categories, we will look at practices and policies readings/discussions and studio work, in which each that shape students’ performance as they strive for student will create a series of performative iterations. In competence, achievement, and acceptance. We will also the first semester, we will use Andrew Simonet’s process analyze the larger political and economic contexts that for creating an artist statement from Making a Life as an shape both schools and the communities in which they are Artist and Jacques Ranciere’s The Emancipated Spectator situated. Limited spaces open to undergraduate juniors to think through the artists' relationship to audience. and seniors. Ideas-Arrangements-Effects, by the Design Studio for Social Interventions, will be used to create a framework for talking about and approaching studio work. In the studio, we will work across disciplines—with sound, light, projection, costume, objects, text, and task—in an effort to make “ideas operational in the generation of the new” (Richard Foreman). In the second semester, students will take on more responsibilities in selecting readings and leading discussions of theoretical texts pertinent to their own research as a means to engender greater understanding and to create a community of artists who can support and challenge each other through collaboration, listening, and constructive critique. Limited spaces open to undergraduate juniors and seniors. WOMEN'S HISTORY

Sarah Lawrence College’s women’s history program immerses students in a combination of historical studies, feminist theory, and gender studies. The program also draws extensively upon resources in the social sciences and literature and on a legacy of continuing activism both within and outside the College community.

Students in the program find internship opportunities with groups such as the New York Historical Society, The Tenement Museum, and the Association for Union Democracy. Students also actively promote causes and agendas, including women’s equality and reproductive freedom; prison reform; lesbian, gay, and transgender issues; and HIV/AIDS education. Close interaction with faculty members helps students find direction, chart individual paths to the degree, and research and produce original theses. FACULTY 191 Gillian Adler Literature FACULTY BA, Barnard College. MA, University of York, UK. PhD, University of California, Los Angeles. Special interest in Colin Abernethy Chemistry Chaucer, Old English and Middle English literature, the BSc (Hons), Durham University, England. PhD, The history of the book, medieval hagiography, mysticism, and University of New Brunswick, Canada. Current research historiography. Author of essays published in the Journal interests include the synthesis of new early transition- of Medieval Religious Culture, Arthuriana, Medieval metal nitride compounds and the development of practical Feminist Forum, Carte Italiane, and Comitatus: A Journal exercises for undergraduate chemistry teaching of Medieval and Renaissance Studies. Her current book laboratories. Author of publications in the fields of project, “Chaucer and the Ethics of Time,” pursues inorganic and physical chemistry, as well as chemical intersecting questions of narrative time and the education. Recipient of research grants from The Royal relationship between temporality and ethics in Chaucer’s Society, Nuffieldounda F tion, Research Corporation for the poetry.SLC, 2018– Advancement of Science, and American Chemical Society. Ron Afzal Religion Received postdoctoral research fellowships at the BA, Grinnell College. MA, McGill University. MDiv, Yale University of Texas at Austin and at Cardiff University, University. PhD, Columbia University. Active member of Wales. Previously taught at: Strathclyde University, the Society of Biblical Literature and the American Scotland; Western Kentucky University; and Keene State Academy of Religion, as well as the Catholic Biblical College, New Hampshire. SLC, 2010– Association; has written on the Apocalypse of John and Julie Abraham Lesbian, Gay, Bisexual, and Transgender has taught broadly in the fields of New Testament and Studies Early Christianity, Judaism in the Second Temple Period, BA (Hons.), University of Adelaide, Australia. MA, MPhil, the Hebrew Bible, and Late Antique Christian Mysticism. PhD, Columbia University. Special interest in lesbian/gay/ SLC, 1992– queer studies, 20th-century British and American Glenn Alexander Music (Guitar) literature, contemporary , and literatures of the BA, Wichita State University. A composer, guitarist, and city; author of Are Girls Necessary?: Lesbian Writing and vocalist, Alexander has received extensive airplay and Modern Histories, Metropolitan Lovers: The Homosexuality critical acclaim from around the world on his recordings of Cities, and numerous essays; editor of Diana: A Strange Stretch, Glenn Alexander, The Connection, Rainbow’s Autobiography; contributor to The Nation and The Revenge, Oria, The Coalition, Northern Lights (Scott Women’s Review of Books. SLC, 2000– Healy~Glenn Alexander Quartet), Glenn Alexander & Samuel Abrams Politics (on leave fall semester) Shadowland, and Knockin’ On The Door (Glenn Alexander AB, Stanford University. AM, PhD, Harvard University. & Shadowland). He has played everywhere from bars to Visiting fellow at the American Enterprise Institute in theaters, to concert halls, to stadiums, and live on both Washington, DC; faculty fellow at George Mason’s radio and television. He has performed and/or recorded Institute for Humane Studies; faculty fellow at Center for with some of the biggest names in music, including: Chico Advanced Social Science Research at NYU; and member of Hamilton, L. Shankar, Jan Hammer with The Mahavishnu the Council on Foreign Relations. A graduate of Harvard Project, The Max Weinberg 7 (Late Night With Conan University’s Kennedy School of Government Program on O’Brien), Southside Johnny and The Asbury Jukes, Jon Inequality and Social Policy and a former affiliate of Bon Jovi, Randy Brecker, Bruce Springsteen, Levon Helm, Harvard’s Canada Program and Institute for Quantitative Elvis Costello and Allen Toussaint, Tom Scott, Brenda Social Science. Main topics of research include social Russell, Regina Bell, Liza Minnelli, Deniese Williams, policy, inequality, international political economy, and Manolo Badrena (Weather Report), Dave LaRue and T comparative and American politics; special interest in Lavitz (The Dixie Dregs), Gary U.S. Bonds, and many, many network analysis, the media, Congress, political behavior, others. Glenn has recorded on countless albums as a urban studies and cities, public opinion and survey sideman, recently appearing on jazz saxophone great Jon research, political communication and elections, and the Arabagon’s “Outright, Unhinged,” to which Downbeat gave social nature of political behavior. Conducted fieldwork five stars and singled out the guitar work, calling it throughout Europe and North America. Authored three “fusionistic, face-melting guitar solos.” Alexander has books and numerous peer-reviewed and popular press served on the faculty of his alma mater, Wichita State works. Two substantial projects are presently in progress: University, and The New School. SLC, 2017– a deep-dive into American political tradition and local Andrew Algire Music (African Percussion) community and an empirical study aimed at University of Wisconsin. Currently, musical director of the understanding the political culture on college and New York-based Feraba African Rhythm Tap; works with a university campuses. SLC, 2010– number of groups, including The Mandingo Ambassadors, 192 Faculty Kakande, The Afro-yorkers, Saida Fikri, and others. Chamber Music Society of Lincoln Center, and New York Performs locally and internationally with several African Philharmonic. Guest on WNYC Leonard Lopate Show. recording artists, including Sekouba Bambino and Oumou Featured on NPR’s All Things Considered, where excerpts Dioubate. Traveled to Europe, Cuba, Guinea, and Mali to of his composition were broadcast throughout the United study and perform; received composition grants from States. His Djuna Barnes settings were orchestrated and various New York arts foundations. Residencies performed by the Riverside Symphony in 2015. Founder of throughout New York and New England. SLC, 2017– Cygnus Ensemble. SLC, 2017–

Morehshin Allahyari Visual and Studio Arts Emily Anhalt Classics, Literature, Greek (Ancient), Latin BA, Tehran University. MA, University of Denver. MFA, AB, Dartmouth College. PhD, Yale University. Primary University of North Texas. Exhibitions include Venice interests are Greek epic and lyric poetry, Greek Biennale di Archittectura, New Museum, The Whitney historiography, Greek tragedy, and Greek and Roman Museum of American Art, Pompidou Center, Museum of sexuality. Publications include Enraged: Why Violent Times Contemporary Art in Montreal, Queens Museum, Pori Need Ancient Greek Myths (Yale University Press, 2017), Museum, Dallas Museum of Art, and Museum für Solon the Singer: Politics and Poetics (Lanham, MD, 1993), Angewandte Kunst, among others. Attended residencies as well as several articles on the poetics of metaphor in and fellowship programs at Carnegie Mellon University’s Homer and on narrative techniques in Herodotus. SLC, STUDIO for Creative Inquiry, Autodesk Pier9 Workshop, 2004– the Vilém Flusser Residency Program for Artistic Research in association with Transmediale, Eyebeam’s one-year Neil Arditi Literature research residency, and Pioneer Works program. BA, Yale University. MA, PhD, University of Virginia. Recipient of The United States Artist Fellowship, The Joan Special interest in British Romantic poetry, Romantic Mitchell Foundation Painters & Sculptors Grant, The legacies in modern and contemporary poetry, and the Sundance Institute New Frontier International Fellowship, history of criticism and theory. Essays published in and the Leading Global Thinkers of 2016 award by Foreign Raritan, Parnassus, Keats-Shelley Journal, Philosophy and Policy magazine. Her work is in the collections of San Literature, and Jewish-American Dramatists and Poets. Francisco Museum of Art and Whitney Museum of SLC, 2001– American Art. SLC, 2021- Naveen Bahar Choudhury Theatre Abraham Anderson Philosophy (on leave yearlong) Katie Bainbridge Psychology AB, Harvard College. PhD, Columbia University. BA, Sarah Lawrence College. MA, PhD, University of Fellowships at École Normale Supérieure and the California, Santa Barbara. Postdoctoral training, The University of Munich. Interests in philosophy and history Institute of Cognitive Science at Colorado University, of science, history of modern philosophy, and the Boulder. Dr. Bainbridge is a cognitive psychologist with a Enlightenment. Author of The Treatise of the Three specialty in educational psychology and learning sciences. Impostors and the Problem of Enlightenment, as well as She received her graduate training under the tutelage of articles on Kant, Descartes, and other topics. Contributor Dr. Richard Mayer, who pioneered the "multimedia to the new Kant-Lexikon. Has taught at the Collège learning" field of research. Her research interests revolve International de Philosophie, St. John’s College, Instituto around how video games can be ideal environments for de Investigaciones Filosóficas, and elsewhere. SLC, 2007– learning and the most effective ways to incorporate Chris Anderson Music (Trumpet) technology into the classroom. SLC, 2021– BM, Manhattan School of Music. Lead trumpet and horn Damani Baker Filmmaking and Moving Image Arts arranger: Southside Johnny and The Asbury Jukes, Allman BA, Sarah Lawrence College. BA, MFA, University of Brothers Band; Beacon Theater Residency, 2003-2015. California-Los Angeles, School of Film and Television. Co-founder, New York Horns. Lead trumpet: Donald Fagen Baker’s more than 20-year career as a filmmaker includes New York Rock and Soul Revue, 1991-92; Hector Lavoe, work that spans museum installation, feature 1986-88; Ray Barretto, 1981-1986. Touring: Bruce documentaries, and advertising. Most recently, in The Springsteen, Jon Bon Jovi, Celia Cruz, Marc Anthony, House on Coco Road (acquired by Ava Duvernay’s ARRAY Illinois Jacquet Big Band, Little Kids Rock Gala House Releasing), he combined family super-8 with, archival Band, Michael Bolton, Shadowland, S’Killit. Broadway: news and family interviews to weave his mother’s personal Movin’ Out, In The Heights, Swing, The Full Monty, Beehive, story with broader historical threads to tell a story of Bring in ‘da Noise Bring in ’da Funk. SLC, 2017– migration and the Grenada Revolution. The House on Coco William Anderson Music (Guitar) Road and his first feature, Still Bill, on the life and music of BA, SUNY-Purchase. Performed at Tanglewood Festival Bill Withers, have been critically acclaimed and featured in and with the Metropolitan Opera Chamber Players, The New York Times, The New Yorker, Los Angeles Times, FACULTY 193 Time Out, and Village Voice, among others. Both Still Bill September 2019 and the Landing Gallery in Los Angeles in and The House on Coco Road enjoy worldwide distribution April 2020. Baras co-founded and co-curated Regina Rex on Showtime, Netflix, and BBC. Baker’s perspective has Gallery on the Lower East Side of New York from 2010–18. gained the attention of clients such as Apple, Ralph She has curated and co-curated more than 20 exhibitions Appelbaum Associates (RAA), Wieden+Kennedy, at Regina Rex and other galleries in New York City, Rainforest Alliance, IBM, and the United Nations. With Chicago, and Philadelphia. She has been teaching painting, RAA, Baker has directed more than 20 films for museums drawing and art history to college students for the past 10 around the world—featuring notables such as President years and is currently teaching at RISD, as well as at Sarah Bill Clinton, Kofi Annan, and President Ellen Johnson Lawrence College. SLC, 2018- Sirleaf—all stories rooted in understanding the human story as its connection to place. Baker recently returned Sophie Barbasch Visual and Studio Arts from Iceland, where he directed “Waterfalls,” a music BA, Brown University. MFA, Rhode Island School of Design. video for Meshell Ndegeocello. Produced by his production A New York-based photographer, Barbasch has exhibited arm, Station 10, Baker collaborated with students in the internationally. Her selected grants and residencies United Nations University Program on Gender Equality to include Light Work, the Bemis Center for Contemporary deliver this groundbreaking work. His work has been Arts, and a Fulbright Fellowship to Brazil. SLC, 2021- supported by Sundance Institute, Ford Foundation, and Carl Barenboim Psychology the George Soros Foundation; he is an alumnus of BA, Clark University. PhD, University of Rochester. Special Filmmaker Magazine’s “25 to watch.” As a tenured interest in the child’s developing ability to reason about professor at Sarah Lawrence College, he teaches the social world, as well as the relation between children’s filmmaking to a diverse group of creatives—ensuring that social thinking and social behavior; articles and chapters the stories from all of our communities continue to be told on children’s perspective-taking, person perception, with grace, dignity, and power. SLC, 2003- interpersonal problem solving, and the ability to infer Jen Baker Music (Trombone) carelessness in others; past member, Board of Consulting BM, Oberlin Conservatory. MFA, Mills College. Trombonist/ Editors, Developmental Psychology; principal investigator, composer. Awards: ASCAP Plus Award, 2012, 2013; Meet grant from the National Institute of Child Health and the Composer award, 2012. Member, International Human Development. SLC, 1988– Alliance of Women Musicians, International Society of Deanna Barenboim Anthropology, Psychology, Child Improvised Music, and International Trombone Development Association. Author: Hooked on Multiphonics. (July 2016). BA, Sarah Lawrence College. MA, PhD, University of Collaborates with artists throughout the world in site- Chicago. Special interests in political/legal anthropology specific, mixed-media performances, concert halls, solo and medical/psychiatric anthropology; transnational and chamber commissions. Featured on the soundtrack to migration, diaspora, and mobilities; race, ethnicity, and Werner Herzog’s Oscar-nominated Encounters at the End indigeneity; urbanism, space, and place; expressive of the World. Toured with Arijit Singh, Karole Armitage, culture; new media; Maya peoples, languages, and Mansour, new music ensembles S.E.M. and TILT brass, and cultures; Mexico and Latin America; North America. the mobile ensemble Asphalt Orchestra (founding Recipient of grants and fellowships from US Department member). SLC, 2017– of Education, Fulbright, and National Science Foundation. Yevgeniya Baras Visual and Studio Arts SLC, 2009–2017; 2018– BA, MS, University of Pennsylvania. MFA, School of the Art Jo Ann Beard Writing Institute of Chicago. Baras has exhibited her work in BFA, MA, University of Iowa. Essayist and creative several New York and Los Angeles galleries and nonfiction writer; author of two collections of essays, internationally. She is represented by Nicelle Beauchene Festival Days and The Boys of My Youth, and the novel In Gallery in New York and the Landing Gallery in Los Zanesville, as well as essays/articles published in Angeles. She was named a Guggenheim Fellow in 2019, a magazines, journals, and anthologies. Recipient of a recipient of the Pollock-Krasner Grant and the Chinati Whiting Writers’ Award and a Guggenheim Fellowship. Foundation Residency in 2018, and the Yaddo Residency in SLC, 2000–2005, 2007– 2017. Baras received the Artadia Prize and was selected for the Sharpe-Walentas studio program and the Katie Bell Visual and Studio Arts MacDowell Colony residency in 2015. In 2014, she earned the Rema Hort Mann Foundation’s Emerging Artist Prize. Roy Ben-Shai Philosophy Her work has been reviewed in The New York Times, Los BA, Tel-Aviv University, Israel. MA, PhD, New School for Angeles Times, ArtForum, and Art in America. Her next solo Social Research. Interests in 19th- to 20th-century exhibitions are at Reyes Finn Projects in Detroit in Continental philosophy—in particular, Nietzsche, 194 Faculty Heidegger, and French post-structuralism—and in the and the theory of digital media. Birch is represented in history of modern philosophy. Editor of The Politics of New York by Lyles and King and is an artist-in-residence at Nihilism: From the Nineteenth Century to Contemporary Pioneer Works Winter, 2018/2019. SLC, 2018- Israel. Former recipient of an Andrew W. Mellon postdoctoral fellowship at Haverford College. Previously Emily C. Bloom Literature taught at Eugene Lang College (NY), Bifrost University BA, Washington University in St Louis. MA, Boston College. (Iceland), Fairfield University (CT), and Stony Brook PhD, University of Texas at Austin. Special interests University (NY). SLC, 2018– include 20th-century British and Irish literature, media studies, the history of technology, and disability studies. Anna Beresin Psychology Author of The Wireless Past: Anglo-Irish Writers and the BA, Tufts University. MEd, Harvard Graduate School of BBC, 1931-1968 (Oxford University Press, 2016), which Education. PhD, University of Pennsylvania. Special was awarded the First Book Prize by the Modernist interests include: the psychology of play; urban children's Studies Association. Essays published in Public Books, The folklore; art and the imaginary; play, power, and violence; Irish Times, International Yeats Studies, and Éire-Ireland, and the anthropology of childhood. Co-editor of the among others. Currently at work on a book about International Journal of Play, a Taylor and Francis, peer- motherhood and technology. SLC, 2021– reviewed journal. Professor of psychology and folklore, Department of Critical Studies, the University of the Arts, Tei Blow Theatre 1999-. Recipient of several awards in children's folklore A performer and media designer born in Japan, raised in from the American Folklore Society. SLC, 2021– the United States, and based in Brooklyn, New York, Blow’s work incorporates photography, video, and sound with a Shoumik Bhattacharya Asian Studies, Lesbian, Gay, focus on found media artifacts. He has performed and Bisexual, and Transgender Studies, Literature designed for The Laboratory of Dmitry Krymov, Mikhail BA, Sarah Lawrence College. MPhil, Graduate Center of Baryshnikov, Jodi Melnick, Ann Liv Young, Big Dance the City University of New York. Special interests include Theater, David Neumann, and Deganit Shemy & Company. postcolonial literatures, gender and queer studies, and the He also performs as Frustrator on Enemies List Recordings environmental humanities. SLC, 2019- and is one-half of Royal Osiris Karaoke Ensemble. Blow’s work has been featured at Hartford Stage, Dance Theater Jesse Bia Japanese Workshop, Lincoln Center Festival, The Kitchen, BAM, The BA, University of Rochester. MPhil, University of Oxford. Public Theater, Kate Werble Gallery, Baryshnikov Arts PhD, University College London (UCL). A cultural Center, Wadsworth Atheneum, and at theatres around the anthropologist specializing in medical anthropology and world. He is the recipient of a 2015 New York Dance and Japanese studies (contemporary and historical), Bia's Performance “Bessie” Award for Outstanding Sound research interests include: Japanese ritual processes Design. Blow composed the sound score for I Understand (Shinto, Buddhist, folk); aging/gerontology; kampō; Everything Better by dancer and choreographer David sociocultural impact(s) of cellular-based regenerative Neumann, in which Blow also performed; the piece won a medicine treatments, especially using iPS; medical 2015 New York Dance and Performance “Bessie” Award pluralities; and creative ethnography. Academic for Outstanding Production. Blow’s most recent publications include journal articles, book chapters, and a production with Royal Osiris Karaoke Ensemble, The Art of forthcoming ethnography chronicling lived experiences of Luv Part I: Elliot, premiered in The Public Theater’s Under degenerative diseases and regenerative medicine/cellular the Radar Festival in January, 2016; it was reviewed in The engineering treatments in Japan. Media appearances New York Times. Royal Osiris Karaoke Ensemble is the include NHK, BBC, and TV Asahi. Sponsored as a visiting recipient of a 2016 Creative Capital award. SLC, 2016– researcher at Osaka University (2014-2016) and recipient of an Inoue Masaru Grant. SLC, 2021– Sean Boson Chemistry BA, MS, Jahangirnagar University; PhD, University of Phillip Birch Filmmaking and Moving Image Arts Cambridge. Postdoctoral research associate, George A visual artist working with 3D animation, sculpture, game Mason University. Interest in synthesis of novel Organic design and performance, Birch's work is in art collections compounds of medicinal importance; is conducting around the world, including the Whitney Museum of research on understanding the characteristics of γ- American Art. Recent exhibitions include Sculpture carboline, which is a potential anti-cancer agent; has Center, NY; Lyles and King, NY; and the National University taught various courses in Organic Chemistry, Advanced of Ireland Galway. Birch has work with the online video Organic Chemistry, Molecular Spectroscopy, platform DAATA Editions, and recent art fairs include Biochemistry, General Chemistry, Forensic Science at NADA Miami, Art Brussels, and Code Copenhagen. He has Kansas Wesleyan University, George Mason University, taught classes in 3D modeling, virtual reality, compositing, and Georgetown University; received the 2009-10 FACULTY 195 Fulbright Teaching Award to teach chemistry at Sofia Minneapolis, MN; Vanishing Landscapes Experimental University, Bulgaria; has published research papers in Sound Studio, Chicago, IL; Quarantine AV, Yeltsin Center, peer-reviewed journals. SLC, 2009; 2022– Yekaterinburg, RU; Pixelsfest, Gasteig Munchen, Munich, DE; Gasteig Open Video, Pallas Theater, Nicosia, CY; RISE Patti Bradshaw Dance CoE, Libraries Unlimited, Exeter, UK; Arts Electronica BM, University of Massachusetts. Certified yoga union Animation Festival, CerModern, Ankara, TU; Arts instructor and Kinetic Awareness instructor. Taught at The Electronica Animation Festival, Laboral Centro de , New School, and Fundação Calouste Gulbenkian; Gijon, ES; Electronica Animation Festival, workshops at New York University, The Kitchen, hospitals, Gotzendammerung. Munich, DE; Animation Festival, and various schools and studios in New York and Greece. Fundacja Photon, Krakow, PL; Patchlab Digital Art Festival, Divisor, choreographer, and maker of puppet and The Wrong, Trompe Le Monde, Mutek, Nexus, Kinodot, physical theatre. SLC, 2000– International Competition, Nite-Lite, Drop City, Outpost, Toon Punx, National Gallery of Art, Washington, DC; Melvin Jules Bukiet Writing Animation Beyond Cinema, ATA, San Francisco, CA; BA, Sarah Lawrence College. MFA, Columbia University. Labyrinths, Cleveland Museum of Art, Cleveland, OH; Author of Sandman’s Dust, Stories of an Imaginary Undervolt Solstice, Teatro Gayarre, Pamplona, ES; Otras Childhood, While the Messiah Tarries, After, Signs and Luces, Fiesp Cultural Center, Sao Paolo, BR; FILE, NEST Wonders, Strange Fire, and A Faker’s Dozen; editor of Studio for the Arts, Boulder, CO; Nematodes, Neurotica, Nothing Makes You Free, and Scribblers on the Centrequatre, Paris, FR; Hello Tomorrow, Harpy, Roof. Works have been translated into a half-dozen Rutherford, NJ; Harpy Experimental Animation... among languages and frequently anthologized; winner of the others. SLC 2020– Edward Lewis Wallant Award and other prizes; stories published in Antaeus, The Paris Review, and other Lorayne Carbon Director, Early Childhood magazines; essays published in The New York Times, Center—Psychology Washington Post, Los Angeles Times, and other BA, State University of New York-Buffalo. MSEd, Bank newspapers. SLC, 1993– Street College of Education. Special areas of interest include social justice issues in the early childhood Peter Burr Filmmaking and Moving Image Arts classroom and creating aesthetic learning environments BFA, Carnegie Mellon University, Pittsburgh Filmmakers. for young children. Former early childhood teacher and L'Ecole Superieure d'Art d'Aix en Provence. The Center for director at Oak Lane Child Care Center, Chappaqua, New Holographic Arts. Full-time faculty, The School of the Art York, and education coordinator of the Virginia Marx Institute of Chicago 2019 – 2021. Award winning artist Children’s Center of Westchester Community College. An and filmmaker: John Simon Guggenheim Fellowship 2018, adjunct professor at Westchester Community College, Sundance Institute’s New Frontier Story Lab Fellowship, Carbon is a frequent workshop leader and speaker at Carnegie Mellon University’s Center for the Arts in Society seminars and conferences on early childhood education. Visiting Artist Fellowship, Sundance Institute Turner She has been director of the Early Childhood Center since Fellowship, Prix Arts Electronica, Creative Capital Award in August 2003 and is a faculty advisor to the College’s Child Emerging Fields 2016, Supernova Digital Arts Festival Development Institute. SLC, 2003– Grand Prize, 25FPS International Experimental Film/Video Festival Grand Jury Prize, MoMA PS1 Colony of Light Antonia Carcelén-Estrada History Residency, Holographic Center for the Arts Residency, MA, PhD, University of Massachusetts Amherst. Carcelén- RACC Individual Projects Grant, and many others. Estrada teaches orality and literature with a focus on Exhibitions include: IMAGES Festival, Toronto, ON; Cave interculturality at Universidad San Francisco de Quito, Exits, 3-Legged Dog Art & Technology Center, New York, Ecuador. She is also a translator and an activist for the NY; Muziekgebouw, Amsterdam, NL; Sonic Acts, revitalization of indigenous languages and a sustainable TenThousand, Los Angeles, CA; The Mess & Pattern future. Her academic interests include colonial and Language, Telematic Media Arts, San Francisco, CA; postcolonial Abya-Yala and transatlantic dialogues on Responsive Eye, Minnesota Street Project, San Francisco, political philosophy, cultural studies, art history, and CA; Black Square Ryan Lee Gallery, New York, NY; Gnration orature. Carcelén-Estrada has published in the fields of Gallery, Braga, PT; Mode Confusion, Ruffin Media Gallery, literature, history, political science, and translation, among Charlottesville, VA; Infinite Death Labyrinths, Times others, and has received grants from the Mellon Square, New York, NY; Midnight Moment, Zabludowicz Foundation in the United States and the British Academy Collection, London, UK; Arcology, and etc. Screenings in the United Kingdom. She has previously taught at the include: 2021—Telematic Media Arts, Labyrinths, GLAS College of the Holy Cross and the University of Animation Festival, Competition Two LIAFF, London, UK; Massachussets Amherst. SLC, 2021– States of Emergency, Yerba Buena Center for the Arts, San Francisco, CA; I Hate the Internet, Walker Art Center, Erin Carmody Mathematics 196 Faculty David Castriota Mary Griggs Burke Chair in Art & Art University of Kansas, University of Illinois U-C, SEAD History—Art History (Salzburg, Austria), and El Centro Cultural Los Talleres BA, New York University. MA, MPhil, PhD, Columbia (Mexico City). Charleston has taught yoga and movement University. Special interests in Greek art of the classical for children, the elderly, and people with Parkinson’s and Hellenistic periods, Roman art of the late republic and Disease. Her choreography has been presented at venues early empire, and the art of prehistoric Europe; author of in New York City, Illinois, Kansas, Missouri, Arizona, and Myth, Ethos, and Actuality: Officialr A t in Fifth-Century B.C. South America. A Fulbright Scholar in Santiago, Chile, she Athens, The Ara Pacis Augustae and the Imagery of subsequently served as Peer Reviewer in Dance for the Abundance in Later Greek and Early Roman Imperial Art, Fulbright organization. SLC, 2019– and a critical commentary on Alois Riegl’s Problems of Style: Foundations for a History of Ornament; editor of Eileen Ka-May Cheng Sara Yates Exley Chair in Teaching Artistic Strategy and the Rhetoric of Power: Political Uses Excellence—History of Art from Antiquity to the Present; recipient of BA, Harvard University. MA, MPhil, PhD, Yale University. fellowships from the Dumbarton Oaks Center for Early Special interest in early American history, with an Christian and Byzantine Art and the Society of Fellows of emphasis on the American Revolution and the early Columbia University and of grants from the National American republic, European and American intellectual Endowment for the Humanities and the American history, and historiography. Author of The Plain and Noble Philosophical Society. SLC, 1992– Garb of Truth: Nationalism and Impartiality in American Historical Writing, 1784-1860; author of articles and book William Catanzaro Dance reviews for History and Theory, Journal of American Composer and multi-instrumentalist; recognition and History, Reviews in American History, and Journal of the funding from NEA, The Samuel S. Fels Fund, New York Early Republic. SLC, 1999– State Council on the Arts, Harkness Foundation, NYU Humanities Council, NYU Service/Learning Fund; Kim Christensen Economics commissions include choreographers Anna Sokolow, BA, Earlham College. PhD, University of Massachusetts- Steve Paxton, Viola Farber, Milton Myers; work presented Amherst. Taught economics and women’s/gender studies nationally and internationally with the New Danish Dance (1985-2010) at SUNY-Purchase, where she received Theatre, TanzFabrik Berlin, Amsterdam Theatreschool, several awards for her teaching: four-time recipient of the Cyprus Festival, Teatro San Martin, The Alvin Ailey School, Students’ Union Award for Outstanding Teaching in the Philadanco, Player’s Project, Dallas Black Theatre, Jacob’s Letters and Sciences; the first recipient of the President’s Pillow, DTW, and others. Former accompanist and teacher Award for Innovative Pedagogy; and, in 1992, recipient of of music for dancers at The Juilliard School, Marymount the statewide SUNY Chancellor’s Award for Distinguished Manhattan College, José Limón School, Martha Graham College Teaching. Christensen has taught economics, School, New York University. Current faculty at The Alvin labor history, and public policy at Sarah Lawrence since Ailey School and Steps on Broadway; music director for 2008. Her research focuses on the intersection of the Young Dancemakers Company. SLC, 2003– economics with public policy issues, with a particular emphasis on issues of race, gender, class, and labor; Mallory Catlett Theatre e.g., the changes in diverse women’s occupational positions in the postwar era, the economics of campaign Janet Charleston Dance finance regulation, organizing precarious/gig workers, and MFA, University of Illinois, Urbana-Champaign. Charleston proposals for worker representation in US danced and toured with the Lucinda Childs Dance corporations. SLC, 2008– Company; performed in the world tour of the Robert Wilson/Philip Glass opera, Einstein on the Beach; and is a Una Chung Hyman H. Kleinman Fellowship in the performer, rehearsal director, and company manager for Humanities—Literature Douglas Dunn + Dancers. She also dances with BA, University of California-Berkeley. PhD, Graduate Christopher Williams and has worked with an array of Center of the City University of New York. Special interests other artists, including Chamecki/Lerner, Kota Yamazaki, include Asian American and postcolonial literatures, new David Parker/The Bang Group, RoseAnne Spradlin, media studies, and critical theory. SLC, 2007– Stephen Koester, and June Finch. Invited by Merce Cunningham to teach at the Cunningham Studio, Heather Cleary Spanish Charleston was on the faculty for 12 years. She has taught BA, MA, New York University. PhD, Columbia University. in many university and professional programs, including Special interests include contemporary Latin American the Joffrey Jazz and Contemporary Trainee Program, culture, the theory and practice of translation, and Barnard College, SUNY-Purchase, New York University’s creative production in the digital age. Essays published in Tisch School of the Arts, NYU Steinhardt Graduate Hispanic Review and Mutatis Mutandis; translations Program, Hofstra University, Franklin & Marshall, FACULTY 197 published by New Directions (Poems to Read on a international awards, including the third-place award at Streetcar by Oliverio Girondo) and Open Letter Books (The SANGA, les Rencontres Choréographiques for Vin Nem Dark and The Planets by Sergio Chejfec). SLC 2015– (2001), which toured more than 30 cities in Europe in 2002 and throughout the United States in 2004 on the Shamus Clisset Visual and Studio Arts Movement (R)Evolution tour. The documentary film BFA, The College of Santa Fe, New Mexico. Digital artist Movement (R)Evolution Africa (2007) is available from and master printer working with 3D modeling, rendering, Documentary Educational Resources (der.org). Since and multidisciplinary digital media. Exhibitions include 2005 Coulibaly has been teaching as guest lecturer, guest Galerie Jette Rudolph and Galerie Thomas Flor, both in teacher, artist-in-residence, teaching workshop, and/or Berlin, and Tracy Williams, Ltd. in New York. Recent performer in various US institutions and universities projects include Empties at Caesura Gallery (Caesura.cc) (Brown University, Yale University, University of Florida, and FakeShamus: Manifest Destinaut, featured in Cornell University, UCLA, New School, Barnard College, BEAUTIFUL/DECAY Book 8: Strange Daze. As a master Sarah Lawrence College, and others); dance school (ECA printer, he has produced exhibition prints for galleries and in New Haven) and EDIT (Burkina Faso); CDC; the museums all over the world, including MoMA, The Choreographic Center of Development. He has danced and Guggenheim, The Metropolitan Museum of Art, and choreographed with other international dance SFMoMA. Recent highlights include prints for the Maurizio companies—such as Salia ni Seydou, Faso Danse Theatre, Cattelan retrospective at The Guggenheim and the first Tché Tché, and Urban Bush Woman—and has collaborated solo show of photographs by the late war photographer, artistically with individual artists such as Emily Coates Tim Hetherington, at Yossi Milo in New York. SLC, 2012– (USA), Catherine Young (Ireland), Amy Sullivan (USA), Pipaluk Vibeke (Denmark), and Kota Yamazaki. Coulibaly Kevin Confoy Theatre, Theatre MFA Program has conducted major residencies in American universities, BA, Rutgers College. Certificate, London Academy of including Yale with Emily Coates in 2009, University of Music and Dramatic Art (LAMDA). Graduate, The Florida in 2010 and 2012, Brown University in 2015, a Conservatory at the Classic Stage Company (CSC), performance project at Sarah Lawrence College in 2016, Playwrights Horizons Theatre School Directing Program. and a performance project at Barnard College in 2018. He Actor, director, and producer of Off Broadway and regional also set a piece for Memphis Ballet in collaboration with productions; resident director, Forestburgh Playhouse; Emily Coates. In December 2019, Coulibaly created a producer/producing artistic director, Sarah Lawrence performance for the opening ceremony of the festival theatre program (1994-2008); executive producer, Dialogue de Corps and also presented his newest work Ensemble Studio Theatre, New York (1992-94); associate “Sen Koro la,” an evocation of the sacrality of the mask.? artistic director, Elysium Theatre Company, New York His unique blend of traditional and modern influences (1990-92); manager, development/marketing results in dynamic intellectual and artistic processes that departments of Circle Repertory Company, New York. intrigue and inspire young artists and audiences. Recipient of two grants from the Alfred P. Sloan Coulibaly’s choreography often provokes questions of the Foundation; OBIE Award, Outstanding Achievement Off (dis)integration of the traditional and the contemporary. and Off-Off Broadway (producer, E.S.T. Marathon of One- He also set Sigini, an analytical approach that emerged Act Plays); nomination, Drama Desk Award, Outstanding from learning, practicing, and studying African Dance and Revival of a Play (acting company); director, first (original) particularly dance in West Africa. Sigini is a pedagogical productions of 13 published plays. SLC, 1994– approach that establishes three principles to design, Lacina Coulibaly Dance sculpt, and write movement through dance. Coulibaly is Born in Ouagadougou, Burkina Faso, Coulibaly's currently a guest lecturer at Yale University, as well as at professional dance career, deeply rooted in traditional Sarah Lawrence College. SLC 2016– African dances, later merged with contemporary Michael Cramer Film History (on leave fall semester) influences to create a uniquely African choreographic BA, Columbia University. MA, MPhil, PhD, Yale University. expression. As a teenager, he was a member of urban Dodo Author of several articles on European cinema and groups and continued to explore his tradition by joining television and the book Utopian Television: Roberto Les Bourgeons, a traditional dance and theatre company. Rossellini, Peter Watkins, and Jean-Luc Godard Beyond In 1990, he joined the traditional dance company Kongo Cinema (University of Minnesota Press, 2017). Special Bâ. Three years later, he began his studies of interests in film and media theory, European cinema of the contemporary dance with the well-known choreographer 1960s and ’70s, contemporary world cinema, the Lassann Congo (who was himself trained at the acclaimed relationship of cinema and television, documentary and Mudras-Afrique, Senegal). In 1995, Coulibaly created the nonfiction cinema, and the politics of aesthetics. SLC, Cie Kongo Bâ Teria with Souleymane Badolo and Ousseni 2015– Sako. Their creations, Frères sans stèles (1999), Vin Nem (2001), et Hydou Bye (2004) toured the world and won 198 Faculty Drew E. Cressman Biology Carmen De Schryver Philosophy BA, Swarthmore College. PhD, University of Pennsylvania. BA, University of Warwick (UK). MSc, London School of Special interest in the molecular basis of gene regulation Economics and Political Science. PhD (ABD), and the control of ; specifically focused on Northwestern University. Interests in Africana philosophy, the control of antigen-presenting genes of the immune decolonial theory and phenomenology with an emphasis system and the subcellular localization of the regulatory on questions of comparative methodology and canon protein CIITA; author of papers on mammalian liver formation. Recipient of a Global Impacts Fellowship at the regeneration and CIITA activity; recipient of grants from Northwestern Buffett Institute for Global Affairs. the Irvington Institute for Biomedical Research and the Publications have appeared in the Southern Journal of National Science Foundation. SLC, 2000– Philosophy and Phenomenology in an African Context: Contributions and Challenges (SUNY, 2021). SLC, 2021- Cynthia Cruz Writing BA, Mills College. MA, Rutgers University. Cruz is the Robert R. Desjarlais Anthropology author of six collections of poems. Hotel Oblivion, her BA, University of Massachusetts-Amherst. MA, PhD, seventh, is forthcoming in 2022. Disquieting: Essays on University of California-Los Angeles. Special interests in Silence, a collection of critical essays exploring the the cultural construction of experience, subjectivity and concept of silence as a form of resistance, was published intersubjectivity, death and mourning, and the political by Book*hug in the spring of 2019. The Melancholia of economy of illness and healing; ethnographic fieldwork in Class: A Manifesto for the Working Class, an examination the Nepal Himalayas, with the residents of a homeless of Freudian melancholia and the working class, is shelter in Boston, and among competitive chess players; forthcoming from Repeater Books in 2021. Cruz is author of Body and Emotion: The Aesthetics of Illness and currently pursuing a PhD at the European Graduate Healing in the Nepal Himalayas; Shelter Blues: Sanity and School, where her area of research is psychoanalysis and Selfhood Among the Homeless; Sensory Biographies: Lives philosophy. SLC, 2008– and Deaths Among Nepal’s Yolmo Buddhists; and Counterplay: an Anthropologist at the Chessboard. Jim Cullen History Recipient of a Guggenheim fellowship and a Howard fellowship. NIMH postdoctoral research fellow at Harvard Michael Davis Philosophy (on leave fall semester) Medical School. SLC, 1994– BA, Cornell University. MA, PhD, Pennsylvania State University. Interests in Greek philosophy, moral and Ellen Di Giovanni French political philosophy, and philosophy and literature; author BA, Tufts University. Licence ès Lettres, Université Paris 8. of many books, most recently The Autobiography of MA, Columbia University. Special interest in the use of Philosophy, a translation of Aristotle’s On Poetics, and literary texts as source material for the stage. Creator of Wonderlust: Ruminations on Liberal Education; member, How to Write a Letter, an ensemble-based theatre piece editorial board, Ancient Philosophy; lecturer, essayist, and based on the 17th-century letters of Marie de Rabutin- reviewer. SLC, 1977– Chantal, Madame de Sévigné. SLC, 2019-

Stephen Tyler Davis Theatre Mary Dillard Graduate Program in Women’s History BA, University of Alabama. MFA, Sarah Lawrence College. Advisor—History A New York-based, multi-hyphen artist from Huntsville, BA, Stanford University. MA, PhD, University of California- Alabama, committed to connecting communities and Los Angeles. Special interests include history of West inspiring joy through theatre and music, Davis has worked Africa, particularly Ghana and Nigeria; history of over the past decade as a director, teacher, writer, intelligence testing and external examinations in Africa; performer, producer, and designer at colleges, regional history of science in Africa; and gender and education. theaters, New York Musical Theatre Festival, and New York Recipient of a Spencer fellowship and Major Cultures International Fringe Festival. He is the author of plays, fellowship at Columbia University’s Society of Fellows in poetry, and original musicals, such as Huckleberry the Humanities. SLC, 2001– Haywood, Bird Brain, Bad Kiss, Little Trees, Rusty the Robot, Stargazing With Helen Keller, Lights Out in Cootah Beth Ann Ditkoff Biology County, as well as an original shadow puppetry adaptation BA, Yale University. MD, The Johns Hopkins School of of A Christmas Carol. Davis has toured the United States Medicine. Former surgical oncologist at New York- for three seasons with TheatreWorks USA and can be Presbyterian Hospital, Columbia University Medical found daily as a singing hologram on Broadway at Ripley’s Center; Department of Surgery, College of Physicians & Museum in Times Square. He is a founder and artistic Surgeons, Columbia University. Author of The Thyroid director of CitySalt Theatricals, an ordained minister, Guide (HarperCollins, 2000) and Why Don’t Your ASCAP songwriter, and member of the Actors Equity Eyelashes Grow? Curious Questions Kids Ask About the Association. SLC, 2017– Human Body (Penguin, 2008). SLC, 2010– FACULTY 199 Miku Dixit Visual and Studio Arts Charlotte L. Doyle Psychology BA, Amherst College. MArch, Princeton University. An BA, Temple University. MA, PhD, University of Michigan. A architect and educator, Dixit is a founding partner of generalist in psychology with special interests in the Kamara Projects [kamaraprojects.org], an architecture creative process, psychological theory, and children’s studio based in Kathmandu and New York, with projects in literature. Articles written on the creative process in art, installation, architecture, and landscape architecture. His the fiction-writing episode, facilitating creativity in writing has been published in Log Journal for Architecture. children, and the definition of psychology. Books include In addition to teaching at Sarah Lawrence College, Dixit is Explorations in Psychology (a textbook) and seven picture currently on the faculty at the Graduate School of books for children: Hello Baby, Freddie’s Spaghetti, Architecture, Planning and Preservation, at Columbia Where’s Bunny’s Mommy?, You Can’t Catch Me, Twins!, University teaching graduate studios. He has taught at Supermarket!, and The Bouncing Dancing Galloping ABC. Barnard College, Tufts University, and Stevens Institute of SLC, 1966– Technology. SLC, 2020- Scott Duce Filmmaking and Moving Image Arts Natalia Dizenko Russian BFA, University of Utah. MFA, Boston University. Visual artist with multiple awards and grants, including a Jerrilynn Dodds Harlequin Adair Dammann Chair in National Endowment for the Arts artist grant. Exhibitions Islamic Studies—Art History include solo exhibits in New York City, Chicago, Atlanta, BA, Barnard College. MA, PhD, Harvard University. Work Boston, and internationally in Paris, Barbizon, Florence, has centered on issues of artistic interchange—in and Lima. Notable collections include Random House, particular, among Christians, Jews, and Muslims—and General Electric, IBM, McGraw-Hill, Petroplus Holdings how groups form identities through art and architecture; (Switzerland), Seagram’s (Montreal), and US Embassy special interest in the arts of Spain and the history of (Stockholm). Currently producing work for exhibitions, architecture. Author of Architecture and Ideology in Early creating hand-drawn animated shorts, and developing a Medieval Spain and NY Masjid: The Mosques of New York series of e-book artist catalogues. SLC, 2012– and co-author of Arts of Intimacy: Christians, Jews, and Muslims in the Making of Castilian Culture, among other Glenn Dynner Religion books and publications. Dean of the College, 2009-15. BA, Brandeis University. MA, McGill University. PhD, SLC, 2009– Brandeis University. Scholar of East European Jewry, with a focus on the social history of Hasidism and the Haskalah Roland Dollinger German, Literature (on leave fall (Jewish Enlightenment). Author of Men of Silk: The semester) Hasidic Conquest of Polish Jewish Society, which received BA, University of Augsburg, Germany. MA, University of a Koret Publication Award and was a National Jewish Book Pittsburgh. PhD, Princeton University. Special interest in Awards finalist. Received textual training in several Israeli 20th-century German and Austrian literature; author of yeshivas and the Hebrew University of Jerusalem. Totalität und Totalitarismus: Das Exilwerk Alfred Döblins Additional interests include Polish-Jewish relations, and several essays and book reviews on 19th- and 20th- Jewish economic history, and popular religion. Recipient century German literature; co-editor of Unus Mundus: of the Fulbright Award. Member (2010-11), Institute for Kosmos and Sympathie, Naturphilosophie, and Philosophia Advanced Study, Princeton University. SLC, 2004– Naturalis. SLC, 1989– Jason Earle French, Literature Aurora Donzelli Anthropology (on leave yearlong) AB, University of Chicago. MA, MPhil, PhD, Columbia BA, MA, University of Pavia, Italy. PhD, University of University. Area of specialization: 20th-century French Milano-Bicocca, Italy. Special interests in linguistic literature. Dissertation on secret societies and anthropology, political oratory and ritual speech, conspiracies in interwar French literature. Research vernacular practical philosophies, ethnopoetics, interests include 19th- and 20th-century French literature missionization, and the emergence of colonial discourse and cultural history, literature and politics, history and genres; ethnographic fieldwork in Southeast Asia (upland theory of the novel, and the avant-garde. SLC, 2012– Sulawesi and East Timor); author of several articles on language and ethnicity, local theories of action, power and Matthew Ellis Christian A. Johnson Endeavor Foundation emotions, verbal art, and language ideologies. FCT Chair in Middle Eastern Studies and International postdoctoral research fellow at Institute of Theoretical Affairs—History and Computational Linguistics in Lisbon, and Endangered BA, Williams College. MPhil, University of Oxford. MA, Languages Academic Programme (SOAS) in London. SLC, PhD., Princeton University. Dr. Ellis specializes in the 2009– social, intellectual, and cultural history of the modern Middle East. His first book, Desert Borderland: The Making of Modern Egypt and Libya (Stanford University Press, 200 Faculty 2018), examines lived experiences of territoriality in the Monsoon, shot on location in Kathmandhu, Nepal. His own Eastern Sahara in the late 19th and early 20th centuries short films have been screened at dozens of film festivals and the role these experiences played in facilitating the all over the world. SLC, 2018- emergence of Egypt and Libya as modern, bordered political spaces. His broader intellectual and teaching Sadah Espii Procto Theatre interests include: the politics and culture of nationalism; Margarita Fajardo Alice Stone Ilchman Chair in modernity and identity formation in the Ottoman and Comparative and International Studies—History post-Ottoman Middle East; cities and imagined urbanism; BA, Universidad de los Andes, Bogotá, Colombia. MA, PhD, nostalgia and the politics of collective memory; popular Princeton University. Historian of modern Latin America, culture; British, French, and Italian imperialism and especially of Brazil, Chile, and Colombia. Interested in decolonization; and the history of mass media and researching, writing, and teaching histories of capitalism propaganda. Dr. Ellis has published articles in The from Latin America and the Global South. In 2018, she International Journal of Middle East Studies and History received a National Endowment for the Humanities Compass and contributed a chapter to The Long 1890s in Fellowship to complete her first book project, tentatively Egypt: Colonial Quiescence, Subterranean titled The World that Latin America Created, which traces Resistance (Edinburgh University Press, 2014). He has the origins of dependency theory—one of the most received several fellowships supporting his research, important paradigms of economic development and including grants from Fulbright, the Social Science globalization. Focusing on a transnational network of Research Council, and the American Research Center in economists and sociologists, diplomats and policymakers Egypt. Most recently, he was the recipient of the Paul whose nexus was the United Nations Economic Mellon/Andrew W. Mellon Foundation Rome Prize in Commission for Latin America (ECLA in English and Modern Italian Studies, awarded by the American CEPAL in Spanish and Portuguese), the book examines the Academy in Rome for the 2020-21 academic year. Dr. Ellis transformation of ideas about economic development and is currently at work on two research projects. The first is a capitalism in the three decades after World War II. The study of Italian imperial citizenship in Libya, with a book challenges widespread assumptions about the particular focus on the ways the colonial government origins and scope of dependency theory and recasts the responded to the challenge of Libyan mobility as tens if political project of regional intellectuals in the global not hundreds of thousands of Libyans fled Italian rule and sphere. Her articles have been published in the Latin took refuge in neighboring countries such as Tunisia and American Research Review and an edited volume on The Egypt. The second aims to provide an intellectual Developmental State (Cambridge University Press, genealogy of American mass media and propaganda in the forthcoming). Broader research and teachings interests middle decades of the 20th century, paying special include: history and theory of capitalism, imperialism and attention to how social scientists conceived the global history, colonial and modern Latin America, politics relationship between mass persuasion and nation-building of knowledge and science, and the dynamics of in the era of decolonization. SLC, 2012– policymaking. SLC, 2015- Brian Emery Filmmaking and Moving Image Arts Fang-yi Chao Chinese BA, Sarah Lawrence College. FAMU (film school), Czech BA, National Tsing Hua University, Taiwan. MA, Tunghai Republic. As technical director of the Filmmaking & University, Taiwan. PhD, Ohio State University. Doctoral Moving Image Arts Program at Sarah Lawrence College, he dissertation: The Sound System of the Qieyun: a Phonemic oversees the equipment and technology resources of the Interpretation. Special interests include intercultural program and manages a team of student workers. He is an communication, Chinese second-language acquisition, Apple-certified trainer in both Final Cut Pro 7 and X and a Chinese language pedagogy, Chinese dialectology, and certified trainer in Blackmagic DaVinci Resolve. Emery has Chinese historical linguistics with emphasis on Middle taught camera, editing, and production workshops at the Chinese. SLC, 2019- New York International Film Institute since 2006 and at Sarah Lawrence College since 2008. His freelance Christine Farrell Theatre filmmaking and editing clients include TED, YouTube BA, Marquette University. MFA, Columbia University. One- Creator Studios, AbelCine, and Kodak, among others. Year Study Abroad, Oxford, England. Actress, playwright, Recent editing projects have garnered film festival director. Appeared for nine seasons as Pam Shrier, the success, received the Jury Award by the DGA East, and ballistics detective on Law and Order. Acting credits on TV screened both nationally and internationally. Emery has include Saturday Night Live and One Life to Live; films, Ice served as camera operator and editor for several Sarah Storm, Fatal Attraction; stage: Comedy of Errors, Uncle Lawrence projects, including the Web series Socially Vanya, Catholic School Girls, Division Street, The Dining Active and Providers and the feature film Elusive. He was Room. Two published plays: Mama Drama and The Once the cinematographer and colorist on the feature film Red Attractive Woman. Directed in colleges, as well as Off FACULTY 201 Broadway, and was the artistic director and co-founder of edited by Roxane Gay and Curtis Sittenfeld, respectively; the New York Team for TheatreSports. Performed in The Best American Short Stories of the Century, edited by comedy improvisation throughout the world. SLC, 1991– John Updike; Children of the Night: The Best Short Stories by Black Writers, 1967 to the Present, edited by Gloria Kim Ferguson (Kim Johnson) Dean of Graduate and Naylor; Apple, Tree: Writers on Their Parents, edited by Professional Studies, Roy E. Larsen Chair in Lise Funderburg; and other places. She is the recipient of Psychology—Psychology grants and awards from the Fulbright Association, the BA, Knox College. MA, PhD, Cornell University. Special Bronx Council on the Arts, the National Endowment for the interests include sustainable, community based Arts, and Sarah Lawrence College. Since 1996, Ferrel has participatory action research, cultural-ecological been a faculty member in both the undergraduate and approaches to infant and child development, children at MFA programs at Sarah Lawrence College. SLC, 1996– risk (children in poverty, HIV/AIDS orphans, children in institutionalized care), community play spaces, Modesto Flako Jimenez Theatre development in Southern and Eastern African contexts, A Bushwick-raised artist and educator, Modesto Flako and the impacts of the physical environment on children’s Jimenez is a 2015 HOLA Best Ensemble Award Winner, an health and wellbeing. Areas of academic specialization ATI Best Actor Award Winner 2016, a HOLA Outstanding include southern African and North American infants’ Solo Performer 2017, a 2016 Princess Grace Honorarium in language learning, categorization, and face processing, the Theatre, and has been profiled in The New York Times. He physical environment and global children’s health and has taught theatre/poetry in New York City public schools wellbeing, community adventure play experiences, for 10 years. Flako Jimenez has toured internationally and adolescents’ remote acculturation in southern African has appeared on TEDxBushwick and in Early Shaker contexts, and relationships between the quality of Spirituals (Wooster Group), Richard Maxwell’s Samara southern African orphan care contexts and child (Soho Rep.), Kaneza Schaal’s Jack & (BAM), and Victor development and health. SLC, 2007– Morales Esperento (Sundance). In 2018, he became the first Dominican-American lead artist in The Public Angela Ferraiolo Visual and Studio Arts Theatre’s UTR Festival for ¡Oye! For My Dear Brooklyn. SLC, BLS, SUNY–Purchase. MFA, CUNY Hunter College. MFA, 2020– Brown University. Professional work includes RKO, H20 Studios, Westwood Studios, Electronic Arts, Hansen Emma Forrester Psychology Literary. Solo and group screenings in the United States BA, Sarah Lawrence College. PhD, Derner School of and Europe, including SIGGRAPH (Los Angeles), ISEA Psychology, Adelphi University. Clinical psychologist with (Hong Kong), New York Film Festival, Courtisane Festival special interests in complex trauma, post-traumatic (Ghent), Collectif Jeune Cinéma (Paris), Copacabana growth, trauma recovery across the lifespan, and Media Festival (Ghent), Australian Experimental Film psychodynamic approaches to working with trauma and Festival (Melbourne), International Conference of neurodevelopmental delays. SLC, 2018– Generative Art (Rome), Digital Fringe (Melbourne), Die Gesellschafter Filmwettbewerb (Germany), Granoff Joseph C. Forte The Esther Raushenbush Chair—Art Center for the Arts (Providence), Microscope Gallery History (Bushwick), Nouspace Gallery (Vancouver), D-Art Gallery BA, Brooklyn College. MA, MPhil, PhD, Columbia (London), International Conference on Information University. Special interest in art and architecture of the Visualization (Montpellier), International Conference of Italian Renaissance and the 17th century, the history of Computer Graphics, Imaging and Visualization (Taiwan), architecture, and art and architectural theory. Author of and TechFest (Mumbai). Interests include interaction articles on Italian 16th-century drawings, French painting design, narrative, immersive environment, playability, of the 17th century, and American 19th-century mobile art, experimental video, generative art, installation, architecture. SLC, 1978– media architecture, and new media urbanism. SLC, 2010– Griffithoulk F Religion (on leave spring semester) Carolyn Ferrell Writing BA, Williams College. MA, PhD, University of Michigan. BA, Sarah Lawrence College. MA, City College of New York. Trained in Zen monasteries in Japan; active in Buddhist Author of the novel, Dear Miss Metropolitan (Holt, 2021) studies, with research interest in philosophical, literary, and the short-story collection Don’t Erase Me, which was social, and historical aspects of East Asian Buddhism, awarded the 1997 Art Seidenbaum Award for First Fiction especially the Ch’an/Zen tradition. Co-editor in chief, Soto of the Los Angeles Times Book Prizes, the John C. Zacharis Zen Text Project (Tokyo); American Academy of Religion First Book Award given by Ploughshares, and the Quality Buddhism Section steering committee, 1987–1994, Paperback Book Prize for First Fiction. Ferrell's stories and 2003–; board member, Kuroda Institute for the Study of essays have been anthologized in The Best American Short Buddhism and Human Values. Recipient of Fulbright, Stories 2018 and The Best American Short Stories 2020, 202 Faculty Eiheiji, and Japan Foundation fellowships and grants from certified professional co-active coach, Coach Training American Council of Learned Societies and National Institute; certified designer and facilitator of LEGO Serious Endowment for the Humanities. SLC, 1995– Play Method; certified instructor, Omotesenke tea ceremony. Recipient of Grants-in-Aid for Scientific Melissa Frazier Associate Dean of the College—Russian, Research, The Ministry of Education, Culture, Sports, Literature Science and Technology, Japan. Interests include AB, Harvard University. PhD, University of intercultural communication, ethnography, narrative California–Berkeley. Special interests include the 19th- analysis, discourse analysis, intercultural training, and century novel and literature and the literary marketplace. intercultural coaching. SLC, 2014– Author of articles and books on topics including Pushkin, Senkovskii, Gogol, Tolstoy, and Russian Formalism. Liza Gabaston French Awarded the 2007 Jean-Pierre Barricelli Prize for “Best Graduate, École Normale Supérieure (rue d’Ulm), Paris. Work in Romanticism Studies,” by the International Agrégation in French Literature, Doctorate in French Conference of Romanticism, for Romantic Encounters: Literature, Paris-Sorbonne. Dissertation on “Body Writers, Readers, and the “Library for Reading” (Stanford Language in Proust’s À la recherche du temps perdu” University Press, 2007). SLC, 1995– (Honoré Champion, 2011). Beyond Proust and the narrative representation of the body, interests include Merideth Frey Physics 19th- and early 20th-century literature, history and theory BA, Wellesley College. PhD, Yale University. Past research of the novel, and relationships between literature and the in novel magnetic resonance imaging (MRI) techniques for visual arts. SLC 2010– 3D imaging of solids and using optical magnetometry for low-field nuclear magnetic resonance (NMR). Current Suzanne Gardinier Writing (on leave yearlong) research involves building a low-field magnetic resonance BA, University of Massachusetts-Amherst. MFA, Columbia setup to explore cross-disciplinary MR applications and University. Author of 12 books, most recently Amérika: The develop new MR techniques at low magnetic fields. Post-Election Malas 1-9 (2017), Notes from Havana Previously taught courses at Wesleyan University and (2016), Carta a una compañera (2016), Homeland (2011), Princeton University, including helping develop Iridium & Selected Poems (2010), & Letter from Palestine investigative science learning environment physics labs. (2007). Her poetry has appeared in Grand Street, The New SLC, 2016– Yorker, and the Wolf magazine in the United Kingdom; her fiction in The Paris Review & Fiction International’s Marek Fuchs Writing “Artists in Wartime” issue; and her essays in The BA, Drew University. Executive Director of The Manhattan Review, The Progressive, & Siècle 21 in Paris. Investigative Journalism and Justice Institute at Sarah Served on an American Studies Association Panel called Lawrence College. “County Lines” columnist for The New “American Jews, Israel, & the Palestinian Question,” and York Times for six years and also wrote columns for The as resident director of the Sarah Lawrence College study Wall Street Journal’s “Marketwatch” and for Yahoo!. abroad program in Havana. A recipient of awards from the Author of A Cold-Blooded Business, a book called New York Foundation for the Arts and the Lannan “riveting” by Kirkus Reviews. His most recent book, Local Foundation. SLC, 1994– Heroes, also earned widespread praise, including from ABC News, which called it “elegant…graceful…lively and Ximena Garnica Dance wonderful.” Recipient of numerous awards and named the A Colombian-born multidisciplinary artist, director, and best journalism critic in the nation by Talking Biz website choreographer, Garnica—along with her partner, Shige at The University of North Carolina School of Journalism Moriya—are the co-founders of LEIMAY and the LEIMAY and Mass Communication. Regularly speaks on business Ensemble. Their works include live installations, and journalism issues at venues ranging from annual performances, sculptures, publications, research, and meetings of the Society of American Business Editors and community projects and have been presented at BAM, The Writers to PBS and National Public Radio. When not New Museum, The Brooklyn Museum, The Watermill writing or teaching, he serves as a volunteer firefighter. Center, HERE, Japan Society, and The Asian Museum of SLC, 2010– San Francisco, as well as in Colombia, France, Japan, Mexico, Spain, and The Netherlands. Garnica has also Izumi Funayama Japanese been nominated for the USA Artists Fellowship and the BA, Waseda University, Japan. MA, Ohio University. PhD, Herb Alpert Award and was a recipient of the Van Lier The University of Texas-Austin. Doctoral Dissertation: Fellowship for extraordinary stage directors. She has Intercultural experiences and practices in a Chinese- participated in the Bessie Schoenberg Individual Japanese joint venture: A study of narratives and Choreographers Residency at The Yard, the Watermill interactions about and beyond “Chinese” and “Japanese.” Center Residency Programs, and the HERE Artist in Associate professor, Kumamoto University, Japan; Residency Program. She was a Distinguished Visiting FACULTY 203 Professor at the University of California, Riverside, and Tanya Goldman Film History was recently published in The Routledge Companion to BA, MA, Tulane University. MPhil, New York University. A Butoh Performance for her article, “LEIMAY, CAVE, and the guest faculty member at the College, Goldman's New York Butoh Festival.” SLC, 2022– research focuses on the history of documentary and educational film distribution as a political and cultural Beth Gill Dance practice. Her essays have appeared in Cineaste, Feminist BA, New York University’s Tisch School of the Arts. A Media Histories, Film History, and Historical Journal of choreographer, Gill has been making contemporary dance Film, Radio, and Television, among other publications. SLC, and performance in New York City since 2005. Her body of 2021– work critically examines issues within the fields of contemporary dance and performance studies through a Martin Goldray Marjorie Leff Miller acultyF Scholar in focused exploration of aesthetics and perception. Gill has Music—Music been commissioned by New York Live Arts, The Chocolate BA, Cornell University. MM, University of Illinois. DMA, Factory Theater, The Kitchen, and Dance Theater Yale University. Fulbright scholar in Paris; pianist and Workshop. Her performances have toured nationally and conductor, with special interests in 17th- through 20th- internationally at Fusebox, the Nazareth College Arts century music. Performed extensively and recorded as Center Dance Festival, and Dance Umbrella. She is a 2012 pianist, soloist, chamber musician, and conductor; Foundation for Contemporary Art grant recipient, a current performed with most of the major new music ensembles, member of The Hatchery Project ,and a 2015-2016 Lower such as the New Music Consort and Speculum Musicae; Manhattan Cultural Council Extended Life Artist in worked with composers such as Babbitt, Carter, and Residence. In 2011, Gill was awarded two New York State numerous younger composers and premiered new works, Dance and Performance “Bessie” Awards for Outstanding including many written for him. Toured internationally as a Emerging Choreographer and the Juried Award for “the member of the Philip Glass Ensemble from 1983-1996; choreographer exhibiting some of the most interesting and conducted the premieres of several Glass operas and exciting ideas happening in dance in New York City today.” appears on many recordings of Glass’s music. Conducted She was also awarded a 2013-2015 New York City Center film soundtracks and worked as producer in recording choreography fellowship. In 2012, Dance Magazine named studios. Formerly on the faculty of the Composers Gill one of the top 25 artists to watch. Guest artist at Conference at Wellesley College. 2010 Recipient of the Barnard College, Eugene Lang College at the New School Lipkin Family Prize for Inspirational Teaching. SLC, 1998– for Liberal Arts, and Arizona State University. SLC, 2017– Peggy Gould Anita Stafford Chair in Service Graeme Gillis Theatre Learning—Dance Artistic director of Youngblood, the company of emerging BFA, MFA, New York University, Tisch School of the Arts. playwrights at Ensemble Studio Theatre (2012 Obie Certified teacher of Alexander Technique; assistant to Award). Director of the E.S.T./Sloan Project, a $1.5 million Irene Dowd; private movement education practice in New program that fosters plays about science, technology, and York City. Other teaching affiliations: Smith College, The economics. Worked as a playwright at theatres throughout Ailey School/Fordham University, Dance Ireland/IMDT, the United States and Canada, including E.S.T. 92nd St. Y/Harkness Dance Center, SUNY Purchase (Youngblood, Marathon of One-Act Plays), Rattlestick, (summer), Jacob’s Pillow. Performances in works by Cherry Lane, Vampire Cowboys, Williamstown Theatre Patricia Hoffbauer and George Emilio Sanchez, Sara Festival, Source Theatre (DC), Tarragon Theatre (Toronto). Rudner, Joyce S. Lim, David Gordon, Ann Carlson, Charles Published by Dramatists Play Service and Applause Books. Moulton, Neo Labos, T.W.E.E.D., Tony Kushner, Paula Josa- Member of the Actors Studio and E.S.T. SLC, 2013– Jones. Choreography presented by Dixon Place, The Field, PS 122, BACA Downtown (New York City); Big Range Myra Goldberg Writing Dance Festival (Houston); Phantom Theater (Warren, BA, University of California–Berkeley. MA, City University Vermont); Proctor’s Theatre (Schenectady, 2008/09 of New York. Author of Whistling and Rosalind: A Family Dangerous Music Commission). Grants: Meet the Romance; stories published in journals, including The Composer, Lower Manhattan Cultural Council, Harkness Transatlantic Review, Ploughshares, Feminist Studies, The Dance Center. Fulbright Specialist in Dance (2017-2021), Massachusetts Review and The New England Review, and Ecuador multi-city Fulbright project incorporating in the book anthologies Women in Literature, Powers of functional anatomy into dance training in professional, Desire, and The World’s Greatest Love Stories and university and community settings (2019); Presenter/ elsewhere in the United States and France; nonfiction panelist UMass Amherst Dance Science Symposium, published in Village Voice and elsewhere; recipient of “Utilizing Functional Anatomy Concepts in Dance Training: Lebensberger Foundation grant. SLC, 1985– Observations, Inspirations & Notes from the Field” (2021); SLC, 1999– 204 Faculty Robert Gould Theatre Award), The Mystery Files of Shelby Woo, and Wildfire. MFA, Sarah Lawrence College. Active in performance art Greenwald has taught film directing and screenwriting at and theatre since the mid-1980s, starting as technical Columbia University School of the Arts, Graduate Film director at The Franklin Furnace performance space. Co- School (adjunct, 1996-1999 and lecturer, 2005-2009) founded DSR, a sound performance group, and toured and New York University Tisch School of the Arts, Japan and Europe in the late ’80s and early ’90s. Graduate Film School (adjunct 2009). SLC, 2012– Assistant Technical Director for the SLC theatre program prior to starting his own sound design company. Sound Sarah Hamill Art History (on leave yearlong) design credits include: work for Off Broadway theatre BA, Reed College. MA, University of California, Berkeley. companies, including Naked Angels, Clubbed Thumb, PhD, University of California, Berkeley. Specializes in Cucaracha and Gabrielle Lansner; in-house sound modern and contemporary art history, with a focus on designer for Ensemble Studio Theatre (1999–2003) and sculptural aesthetics, postwar American sculpture, designed most of its yearly Marathon series productions of contemporary photography, and the global circulation of one-act plays during those years; created sound for dance art objects through their reproduction and display. Author choreographers Jeanine Durning, Hetty King, Lans Gries, of David Smith in Two Dimensions: Photography and the and Lisa Race; and currently is an audio engineer for CBS Matter of Sculpture (University of California Press, 2015), News. SLC, 2008– awarded a Meiss/Mellon Author’s Book Award and a Wyeth Foundation for American Art Publication Grant Maggie Greenwald Filmmaking and Moving Image Arts from the College Art Association in 2013, and, with Megan An award-winning writer-director her most recent film, R. Luke, co-editor of Photography and Sculpture: The Art Sophie and the Rising Sun, premiered at Sundance 2016, Object in Reproduction (Getty Publications, 2017). Articles at the Salt Lake City Gala. It was Greenwald’s third film in and essays explore the work of David Smith’s (1906-1965) the Sundance Film Festival. Her first film, Home Remedy, across media, the photography of Ugo Mulas (1928-1973), screened at the Munich, London, and Torino film festivals the photographic folios of Clarence Kennedy (1892-1972), before opening at the prestigious Film Forum in New York the sculpture of Eduardo Chillida (1924-2002), and the City in 1987. Her film The Kill-Off, a noir thriller based on a videos of Erin Shirreff 19( 77- ). Current projects examine novel by Jim Thompson, appeared at film festivals around the 1970s sculptures and films of American sculptor Mary the world, including: Sundance (in Dramatic Competition) Miss (1944- ), contemporary photography and the and Munich (opening night, American Independent metaphorization of sculpture, and theories of the section), as well as London, Florence, Deauville, Toronto, photographic detail. Formerly associate professor of and Edinburgh before winning the Best Director Award at modern and contemporary art at Oberlin College. the Torino Film Festival. The film is acknowledged by the Recipient of fellowships from the American Council of British Film Institute as one of the “100 Best American Learned Societies, the Getty Research Institute, and Villa I Independents.” Greenwald’s original, acclaimed, Tatti, the Harvard Center for Italian Renaissance Studies. groundbreaking Western, The Ballad of Little Jo, was SLC, 2017– released worldwide in 1993 by Fine Line Features and Polygram Filmed Entertainment; it won an Independent Matthea Harvey Writing Spirit Award. Subsequently, she wrote and directed her BA, Harvard College. MFA, University of Iowa Writers’ music-based drama, Songcatcher, which was inspired by Workshop. Poet and author of Pity the Bathtub Its Forced early country ballads; the film premiered in Dramatic Embrace of the Human Form (Alice James Books, 2000); Competition at Sundance 2000, where it garnered a Sad Little Breathing Machine (Graywolf, 2004); Modern Special Jury Award for Ensemble Performance. Life (Graywolf, 2007), winner of the Kingsley Tufts Award, Songcatcher, a Lions Gate release, also received the first a New York Times Notable Book of 2008 and a finalist for Sloan Foundation Award, Deauville Film Festival Audience the National Book Critics Circle Award; and a children’s Award, two Independent Spirit Award nominations, and a book, The Little General and the Giant Snowflake, GLAAD Award nomination. Additionally, Greenwald illustrated by Elizabeth Zechel (Soft Skull Press, 2007). directed The Last Keepers, a teen film released in 2013 by Contributing editor for jubilat and BOMB. Has taught at BCDF Prods. For television, Greenwald directed Greenwald Warren Wilson, the Pratt Institute, and the University of directed the 2018 Hallmark Christmas film, The House on Houston. SLC, 2004– Honeysuckle Lane. Earlier, she directed episodes of Jasmine Hearn Dance Madam Secretary and Nashville. Her TV films include the An interdisciplinary artist, director, choreographer, GLAAD Award-winning What Makes a Family (2000), organizer, teaching artist, and a 2017 “Bessie” award- Tempted, and Comfort and Joy (2003) for Lifetime winning performer with Skeleton Architecture—born and Television; Get a Clue (2001) for Disney Channel; and raised on occupied lands now known as Houston, Good Morning, Killer (2011) for TNT. Past episodic work Texas—Hearn has, over the past decade, developed and includes: The Adventures of Pete & Pete (Cable ACE shared solo and ensemble dance theatre performances FACULTY 205 rooted in the facilitation of creative spaces for and will be making a multimedia documentary about remembering, feeling, and imagining. They have creatively preteen anorexia in partnership with Ms. Magazine and collaborated with multidisciplinary artists Solange NPR. SLC, 2010– Knowles, Alisha B. Wormsley, Vanessa German, Ayanah Moor, Holly Bass, Kendra Portier, Kate Watson Wallace, Luisa Laura Heredia Joanne Woodward Chair in Public and Li Harris, which produced solo and collective Policy—Public Policy (on leave fall semester) embodied performances at the Guggenheim Museum, The BA, University of Notre Dame. MA, PhD, Harvard Getty Center, Venice Biennale 2019, the Ford Foundation, University. Research interests include Latino and New York Live Arts, Danspace Project, BAAD!, Kelly immigration politics, with special interests in migration Strayhorn Theater, and other internationally acclaimed art control regimes, social movements, inequalities in spaces. They have also had the pleasure to perform citizenship, and religion in the United States and Spain. premiere and repertory pieces with companies Urban Current work compares the development of US and Spain Bush Women, David Dorfman Dance, Helen Simoneau enforcement regimes, their constructions of racialized Danse, Dance Alloy Theater, and the August Wilson Dance “illegal” bodies, and their radical movements to dismantle Ensemble. Hearn’s creative embodied practice is rooted in the state’s migration control practices. Her first book a layering of dance, somatic, and vocal traditions and project, Illegal Redemption, investigates the crucial yet methodologies. As a teaching artist and choreographer, contradictory role that the Catholic Church has played in they are greatly influenced by many teachers and mentors, challenging a growing and restrictive regime of including Claudette Johnson, Byronné J Hearn, Marjani immigration control in the United States in the Forté-Saunders, Marlies Yearby, Kathryn Leary, Staycee contemporary period. Author of “From Prayer to Protest: Pearl, Jawole Willa Jo Zollar, jhon r. stronks, Samantha The Immigrant Rights Movement and the Catholic Speis, Chanon Judson, Kendra Portier, Barbara Mahler, Church,” a chapter in the edited volume, Rallying for Pamela Pietro, Sherie van den Wijngaard, Joy KMT, Alisha Immigrant Rights, by Irene Bloemraad and Kim Voss. SLC, B. Wormsley, Samita Sinha, and Li Harris. Their 2014– commitment to dance is an expansive practice that Michelle Hersh Biology includes performance, collaboration, sound conjuring, AB, Bryn Mawr College. PhD, Duke University. Postdoctoral memory-keeping, and storytelling. SLC, 2022– Research Associate, Bard College, Cary Institute of Mark Helias Music (Contrabass) Ecosystem Studies. Community ecologist with a special interest in the connections between biodiversity and Ann Heppermann Writing disease. Author of articles on how fungal seedling A Brooklyn-based, independent, radio/multimedia pathogens maintain tree diversity in temperate forests documentary producer, transmission sound artist, and and how animal diversity alters the risk of tickborne educator, her stories air nationally and internationally on diseases. Recipient of grants from the National Science National Public Radio, the BBC, and on numerous shows, Foundation. Previously taught at Bard College and Eastern including: This American Life, Radio Lab, Marketplace, Michigan University. SLC, 2013– Morning Edition, Studio 360, and many others. Recipient of Peabody, Associated Press, Edward R. Murrow, and Niko Higgins Music Third Coast International Audio Festival awards. BA, Wesleyan University. MA, MPhil, PhD, Columbia Transmission artist with free103point9; work exhibited at University. Ethnomusicologist and saxophonist. Interests UnionDocs, Chicago Center for the Arts, and other venues. in South Indian classical music and fusion, jazz, world She has taught classes and workshops at Duke Center for music, improvisation, globalization, cosmopolitanism, Documentary Studies, Smith College, Columbia University, sound studies, and ecomusicology. Author of two articles and the CUNY Graduate School of Journalism; for years, on South Indian fusion and leader and producer of two she was the director of radio at Brooklyn College. Co- recordings. Taught at Columbia University, Montclair State creator of Mapping Main Street, a collaborative media University, and The New School. Fulbright and Fulbright project documenting the nation’s more than 10,000 Main Hays recipient. SLC, 2015– Streets, which was created through AIR’s MQ2 initiative Christopher Hoffman Psychology along with NPR, the CPB, and the Berkman Center at BA, Sarah Lawrence College. PhD candidate, CUNY Harvard University. Her work has been funded by the Graduate Center. A professor of environmental psychology Corporation for Public Broadcasting, Association of and critical social/personality psychology, Hoffman's orkw Independents, Arizona Humanities Council, and Berkman focuses on social and environmental contexts that shape Center for Internet and Society at Harvard. Currently, she identities, perspectives, and behaviors. His current work is a Rosalynn Carter for Mental Health Journalism Fellow centers on participatory action research epistemologies and critical consciousness with young people. He is interested in ways in which research can empower 206 Faculty communities and influence policy. Hoffman has at ught at grants from the National Endowment for the Arts, the City College of New York, Changwon Science High School, Massachusetts Artist Foundation, and the Guggenheim. and the Westchester Correctional Facility. He is a former SLC, 1993– Fulbright grantee. SLC, 2019– Vera Iliatova Visual and Studio Arts David Hollander Writing BA, Brandeis University. MFA, Yale University. BA, State University of New York-Purchase. MFA, Sarah Represented by Nathalie Karg Gallery where she will have Lawrence College. David Hollander is the author of her first solo exhibition in November 2021. Work included Anthropica and L.I.E., a finalist for the NYPL Young Lions in numerous exhibitions in the United States and abroad at Award. His short fiction and nonfiction have appeared in venues that include: Galleria Glance, Torino, Italy; numerous print and online forums, including Mogadishni Gallery, Copenhagen; New Langton Art Center, McSweeney’s, Post Road, The New York Times Magazine, San Francisco; Artist Space, New York; and David Castillo Poets & Writers, The Collagist, Unsaid, The Black Warrior Gallery, Miami. Previously held full-time teaching Review, The Brooklyn Rail, and Swink. His work has been appointments at Massachusetts College of Art, University adapted for film and frequently anthologized, most notably of California–Davis, and University of New Hampshire. in Best American Fantasy 2 and 110 Stories: New York Recipient of residencies at Skowhegan School of Art and Writes After September 11th. SLC, 2002– Vermont Studio Center; awarded free studio space in The Space Program at the Marie Walsh Sharpe Foundation, James Horowitz Literature 2007/2008. SLC, 2014– BA, New York University. MA, PhD, Yale University. Special interests include Restoration and 18th-century literature, Melvin Irizarry-Gelpi Physics the history of the novel, film and film theory, political BS, University of Puerto Rico-Mayagüez. PhD, Stony Brook history, Henry James, and gender studies. SLC, 2008– University. Previously taught physics at Westchester Community College (Valhalla) and currently teaching at Jesse Horst History College of Mount Saint Vincent (The Bronx). SLC, 2021– BA, St. Olaf College. MA, PhD, University of Pittsburgh. Historian of modern Latin America—especially Cuba, with John Isley Music interest in Brazil, the Caribbean, and Afro-Latin America more generally—Horst specializes in the history of urban Meghan Jablonski Psychology, Practicum informality and social movements in the Global South. BA, Muhlenberg College. MA, PhD, The New School for Director of Sarah Lawrence in Cuba, the longest Social Research. Clinical psychologist with special consecutively running US academic exchange program in interests in how important relationships shape Havana, he has lived in Havana full-time since 2016. His development, experience, and well-being throughout the book manuscript (in progress) centers on slum clearance, lifespan and in the role of creative process, mindfulness, urban planning, and city politics in Havana from and restorative sleep in cultivating resilience and wellness. 1930-1970, the decades before and after the Cuban Areas of experience include: attachment theory and Revolution of 1959. The book engages with historical human bonding over the life span, relational debates over issues like the so-called “culture of poverty” psychoanalytic theory, brief relational/psychodynamic and connects to contemporary issues like gentrification. psychotherapy and cognitive-behavioral therapy research, Horst was awarded the University of Pittsburgh’s Eduardo sleep research, psychological and neuropsychological Lozano Memorial Dissertation Prize for best doctoral assessment, clinical practice across all levels of care and dissertation in Latin American studies. His previous work in underserved communities, creative flow theory and has appeared in the Hispanic American Historical Review, mindfulness-based practices. Current work is focused on the Journal of Urban History, and other journals. SLC relating, reality, and rest in the digital age. SLC, 2013– 2016– John Jasperse Director, Dance Program—Dance Marie Howe Writing BA, Sarah Lawrence College. Founded John Jasperse BS, University of Windsor, Canada. MFA, Columbia Company, later renamed John Jasperse Projects, in 1989 University. Chancellor to the Academy of American and has since created 17 evening-length works through Poets; Poet laureate of New York State; author of this nonprofit structure, as well as numerous commissions Magdalene; author of The Good Thief, selected by for other companies, including Baryshnikov’s White Oak Margaret Atwood for the National Poetry Series; editor, Dance Project, Batsheva Dance Company, and Lyon Opera with Michael Klein, of In the Company of My Solitude: Ballet. John Jasperse Projects have been presented in 24 American Writing from the AIDS Pandemic; author of What US cities and 29 countries by presenters that include the the Living Do; recipient of the Peter I. B. Lavan Younger Brooklyn Academy of Music, The Joyce Theater, New York Poet Prize from the Academy of American Poets, the Mary Live Arts, Dance Theater Workshop, The Kitchen, Walker Ingram Bunting fellowship from Radcliffe College, and Art Center, Museum of Contemporary Art Chicago, FACULTY 207 American Dance Festival, La Biennale di Venezia, Dance ART/NY, The Kitchen, The Bushwick Starr, The Flea, Umbrella London, Montpellier Danse, and Tanz im August Abrons Arts Center, Theatre Row, and Soho Rep, as well as Berlin. Recipient of a 2014 Doris Duke Artist Award, two outside of New York City in Venezuela, Cuba, Puerto Rico, Bessie awards (2014, 2001), and multiple fellowships Korea, and Los Angeles. Her opera work has been in Long from US Artists, Foundation for Contemporary Arts, Tides/ Beach Opera (CA), Lincoln Center Juilliard School, and Lambent Foundation, Guggenheim Foundation, New York Huntington Theatre (Boston), among many venues. Jung Foundation for the Arts, and National Endowment for the received the 2015 Edith Lutyens & Norman Bel Geddes Arts, in addition to numerous grants and awards for John Design Enhancement Award and was nominated for the Jasperse Projects. On the faculty and taught at many 2019 Henry Hewes Design Award. Her design in Venezuela distinguished institutions nationally and internationally, was presented in Prague Quadrennial 2015, the world’s including Hollins University MFA, University of largest scenography exhibition. SLC, 2020– California–Davis, Movement Research, PARTS (Brussels, Belgium), SEAD (Salzburg, Austria), Centre National de la Kenneth G. Karol Biology Danse (Lyon, France), and Danscentrum (Stockholm, BSc, University of Wisconsin-Madison. PhD, University of Sweden). Co-founder of CPR (Center for Performance Maryland-College Park. Research interest in molecular Research) in Brooklyn, NY. SLC, 2016– systematics, classification and evolution of green algae and land plants, and interest in organellar genome James Jeter Music evolution. Currently an assistant curator at the New York Botanical Garden’s Cullman Molecular Systematics Elizabeth Johnston Psychology Program, adjunct faculty member at City University of MA, St. Andrew’s University, Scotland. DPhil, Oxford New York, international collector of algae, and author of University. Special interests in human perception of three- more than 30 papers and book chapters on algae and land dimensional shape, binocular vision, and the perception of plant evolution. SLC, 2008– depth from motion; author of articles and book chapters on shape perception from stereopsis, sensorimotor Dawn Kasper Visual and Studio Arts integration, and combining depth information from BFA, Virginia Commonwealth University. MFA, University different sources. SLC, 1992– of California, Los Angeles. Select solo and group exhibitions: Portikus (Frankfurt), 57th Venice Biennale Denisha Jones Director, Art of Teaching Program—Art of (Italy), Portland Institute for Contemporary Art Teaching (Portland), Tang Museum, Skidmore College (New York), BS in Early Childhood Education and Certificate in Granoff entC er for the Arts (Providence), ADN Collection Nonprofit Leadership from the University of the District of (Italy), CCS Bard College (New York), Issue Project Room Columbia; PhD. in Curriculum and Instruction from Indiana (New York) David Lewis (New York), American Academy in University and JD from the University of the District of Rome (Italy), 2012 Whitney Biennial (New York), Tramway Columbia. Previous to Sarah Lawrence, Denisha was at (Scotland), Hammer Museum (Los Angeles), Los Angeles Trinity Washington University, first in the College of Arts County Museum of Art (Los Angeles), Pacific Standard and Sciences as Assistant Professor and Program Chair Time Public and Performance Art (Los Angeles), Public Art for undergraduate elementary and early childhood Fund, (Miami), Migros Museum fur Gegenwartskunst programs and, most recently, in the School of Education as (Zurich). Kasper is represented by David Lewis (New York) Director of Teacher Education and Assistant Professor. and has work included in the collections of the Whitney Prior to her work at Trinity Washington, Denisha was a Museum of American Art, (New York) ADN Collection lecturer and faculty member at Howard University and (Italy), and Aïshti Foundation (Beirut). She has been Grossmont College; the Preschool Director and faculty visiting faculty and guest critic at Temple University Tyler member at MiraCosta College; an Associate Instructor/ School of Art and Architecture (Philadelphia), Yale University Supervisor/ Field Experience Supervisor in the University (New Haven), Städelschule (Frankfurt), Brown Curriculum and Instruction Department at Indiana University (Providence), Rhode Island School of Design University Bloomington and a Kindergarten teacher at the (Providence), Parsons (New York), California Institute of Peabody Early Childhood Learning Center. SLC 2019– the Arts (Valencia), and Otis College (Los Angeles). SLC, 2020– Jian Jung Theatre MFA, New York University. MFA, Ewha Women's University Sibyl Kempson Theatre, Theatre MFA Program (Korea). A New York-based set designer, Jung’s design has MFA, Brooklyn College. Kempson’s plays have been been acclaimed as “innovative,” “inventive,” “genius,” and presented in the United States, Germany, and Norway. As a “spectacular” by major press outlets, such as The New performer she toured internationally from 2000-2011 with York Times, Los Angeles Times, Time Out, and many Nature Theater of Oklahoma, New York City Players, and others. Her theatre work has been in numerous downtown Elevator Repair Service. Her own work has received New York City theatres, including Classic Stage Company, support from the Jerome Foundation, the Greenwall 208 Faculty Foundation, National Endowment for the Arts, and Dixon Paul Kerekes Music (Composition) Place. She was given four Mondo Cane! commissions from BMus, CUNY Queens College. MM, MMA, Yale School of 2002-2011 for The Wytche of Problymm Plantation, Crime Music. New York-based composer and pianist whose or Emergency, Potatoes of August, and The Secret Death of music has been performed by American Composers Puppets). She received an MAP Fund grant for her Orchestra, Da Capo Chamber Players, and New Morse collaboration with Elevator Repair Service (Fondly, Code, in Merkin Hall, (le) poisson rouge, and The Winter Collette Richland) at New York Theatre Workshop Garden. He attended The Bang on a Can Summer Music (NYTW), a 2018 PEN/Laura Pels International Foundation Festival, Aspen Music Festival, and The Young Artists for Theater Award for American Playwright at Mid-Career Piano Program at Tanglewood. Member of Grand Band, a (specifically honoring “her fine craft, intertextual six-piano ensemble featured in The Bang on a Can approach, and her body of work, including Crime or Marathon and the Gilmore International Keyboard Festival. Emergency and Let Us Now Praise Susan Sontag”), and a Award recipient from ASCAP, the Academy of Arts and 2014 USA Artists Rockefeller fellowship with NYTW and Letters; recipient of the 2015 JFund award from the director Sarah Benson. She received a 2013 Virginia B. American Composer’s Forum. SLC, 2017– Toulmin Foundation commission for Kyckling and Screaming (a translation/adaptation of Ibsen’s The Wild Yeong Ran Kim Filmmaking and Moving Image Arts, Duck), a 2013-14 McKnight National residency and Lesbian, Gay, Bisexual, and Transgender Studies commission for a new play (The Securely Conferred, BA, Seoul NationalUniversity. MA, The New School Vouchsafed Keepsakes of Maery S.), a New Dramatists/ University and New York University. PhD, Brown Full Stage USA commission for a devised piece (From the University. An interdisciplinary artist and researcher, Kim Pig Pile: The Requisite Gesture(s) of Narrow Approach), sees aesthetic practices as central means to build social and a National Presenters Network Creation Fund Award movements that create unique moments of coming for the same project. Her second collaboration with David together. Her interdisciplinary projects draw together her Neumann/Advanced Beginner Group, I Understand research in the contemporary queer culture with Everything Better, received a Bessie Award for performance theory, Asian/American studies, gender and Outstanding Production in 2015; the first was Restless Eye sexuality studies, and film and new media studies. Kim is a at New York Live Arts in 2012. Current and upcoming visual/sonic media composer and a member of “The Urban projects include a new opera with David Lang for the Mythfits,” a performance-artists collective based in New Isabella Stewart Gardner Museum in Boston for 2018, York City. Her work has been showcased at Re/Mixed Sasquatch Rituals at The Kitchen in April 2018, and The Media Festival, Queens Museum, and the Martin E. Segal Securely Conferred, Vouchsafed Keepsakes of Maery S. Theatre Center at CUNY Graduate Center. SLC, 2020– Kempson is a MacDowell Colony fellow; a member of New Daniel King Mathematics Dramatists; a USA Artists Rockefeller fellow; an artist-in- BS, Lafayette College. MS, PhD, University of Virginia. residence at the Abrons Arts Center; a 2014 nominee for Special interests in mathematics education, game theory, the Doris Duke Impact Award, the Laurents Hatcher history and philosophy of mathematics, and the outreach Award, and the Herb Alpert Award; and a New York of mathematics to the social sciences and the humanities. Theatre Workshop Usual Suspect. Her plays are published Author of research papers in the areas of nonassociative by 53rd State Press, PLAY: Journal of Plays, and algebra, fair-division theory, and mathematics education; Performance & Art Journal (PAJ). In addition to Sarah governor of the Metropolitan New York Section of the Lawrence College, she teaches and has taught Mathematical Association of America; member, board of experimental performance writing at Brooklyn College and editors, The College Mathematics Journal. SLC, 1997– the Eugene Lang College at the New School in New York City. Kempson launched the 7 Daughters of Eve Theater & Mary LaChapelle The Michelle Tolela Myers Chair in Performance Co. in April 2015 at the Martin E. Segal Writing—Writing Center at the City University of New York. The company’s BA, University of Minnesota. MFA, Vermont College. inaugural production, Let Us Now Praise Susan Sontag, Author of House of Heroes and Other Stories; stories, premiered at Abrons Arts Center in New York City. A new essays and anthologies published by New Rivers Press, piece, Public People’s Enemy, was presented in October Atlantic Monthly Press, Columbia Journal, Global City 2018 at the Ibsen Awards and Conference in Ibsen’s Review, Hungry Mind Review, North American Review, hometown of Skien, Norway. 12 Shouts to the Ten Newsday, The New York Times; recipient of the PEN/ Forgotten Heavens, a three-year cycle of rituals for the Nelson Algren, National Library Association, Loft Mcknight Whitney Museum of American Art in the Meatpacking and The Whiting Foundation awards; fellowships from the District of New York City, began on the vernal equinox in Hedgebrook, Katherine Anne Porter, Edward Albee, and March 2016 to recur on each solstice and equinox through Bush foundations. SLC, 1992– December 2018. SLC, 2016– FACULTY 209 Eduardo Lago Spanish, Literature Allen Lang Director, Theatre Outreach—Theatre MA, Universidad Autonomá de Madrid, Spain. PhD, BA, University of Wisconsin–Stevens Point. MFA, SUNY- Graduate Center, City University of New York. Special Empire State College. Published plays include Chimera, interests: Spanish and Latin American literature, US Latino White Buffalo, and The Wading Pool. Recipient of the writers, European literature. Author of the award-winning Lipkin Playwright Award and Drury College Playwright novel, Call Me Brooklyn (2006), translated into 15 Award. Plays produced in New York City at Pan Asian Rep, languages. Other fiction works include short-story Red Shirt Entertainment, La Mama, The Nuyorician Poets collections Scattered Tales and Map Thief and I Always Cafe, and other venues. In New York, directed new plays by Knew I Would See You Again, Aurora Lee, a novel Richard Vetere, Adam Kraar, Diane Luby, and Michael (2013)—all in Spanish. Translator into Spanish of works Schwartz. Established The River Theatre Company in by John Barth, Sylvia Plath, Henry James, Junot Díaz, Central Wisconsin with a company of local players. Hamlin Garland, William Dean Howells, and Charles Directed, toured with the work of Samuel Beckett, Eugene Brockden-Brown. Recipient of the 2002 Bartolome ́ March Ionesco, Slawomir Mrozek, David Lindsay Abaire, and John Award for Excellence in Literary Criticism for his Patrick Shanley, among others. Performances presented comparative analysis of James Joyce’s Ulysses on NPR and in shopping malls, street festivals, bus stops, translations into Spanish. Director of the Cervantes parking lots, and abandoned stores, as well as more Institute in New York, 2006–2011. Holder of a Chair of traditional venues. Conducted theatre workshops for Excellence at Carlos III University, Madrid, in 2008. His participants of all ages in New York City, Yonkers, collection of essays The double helix of North American Westchester County, and throughout the United States Literature, will be published at the end of 2018 in Mexico and abroad. Wrote, directed, and performed in original and Spain. SLC, 1993– plays presented in schools, community centers, and museums in Yonkers, Westchester County, and beyond. Kevin Landdeck Adda Bozeman Chair in International Recipient of grants from the National Endowment of the Relations—Asian Studies, History Arts, The Wisconsin Council of the Arts. Sarah Lawrence BA, Valparaiso University. MA, University of Michigan-Ann College Theatre Outreach co-director; artistic director of Arbor. PhD, University of California-Berkeley. Recipient of the Sarah Lawrence College theatre program, 2007-2010. a Chiang Ching-kuo Foundation dissertation grant for SLC, 1998– archival research in Chongqing, China. Research concerns 20th-century China, specifically Kuomintang war Rattawut Lapcharoensap Writing mobilization and interior society during the Sino-Japanese BA, Cornell University. MFA, University of Michigan. War (1937-45). Dissertation, “Under the Gun: Nationalist Fiction writer. Author of Sightseeing, a collection of short Military Service and Society in Wartime Sichuan, stories, which received the Asian American Literary Award 1938-1945,” presently being revised for future publication, and was shortlisted for the Guardian First Book Award. His examines the state-making projects embedded within work has appeared in Granta, One Story, The Guardian, conscription and voluntary enlistment in Chiang Kai- Zoetrope, Best New American Voices, and Best American shek’s army. Translating the confessions and jottings of a Non-Required Reading, among others. He is a recipient of a captured KMT spy, who spent 16 years undergoing self- Whiting Writer’s Award, a DAAD Artist-in-Berlin reform in a communist prison, is a side project currently in fellowship, a National Book Foundation 5 Under 35 honor, progress. Key areas of interest include China’s transition and an Abraham Woursell Prize through the University of from a dynastic empire to a nation-state; the role of war in Vienna; he was named by Granta magazine to its list of state-making; modes of political mobilization and their “Best of Young American Novelists.” SLC, 2018– intersection with social organization; and private life and selfhood, including national, regional, or local and personal Joseph Lauinger Literature identities. Broadly teaches on modern (17th century to BA, University of Pennsylvania. MA, Oxford University. MA, present) East Asian history, with a focus on politics, PhD, Princeton University. Special interest in American society, and urban culture. In addition to a course on war literature and film, the history of drama, and classical in 20th-century Asia, a personal involvement in literature; recipient of the New York State Teacher of photography has inspired a course on photographic Excellence Award and a grant from the National images and practice in China and Japan from the 19th Endowment for the Humanities; fiction and poetry century through the present. Member of the American published in Epoch, Lost Creek, Georgetown Review, Historical Association, Association of Asian Studies, and Confrontation, and Pig Iron; plays performed throughout Historical Society for Twentieth-Century China. SLC, the United States and in the United Kingdom, Australia, 2011– and India; member of the Dramatists Guild. SLC, 1988– Sean Leo Theatre A media designer and creative producer for live performance, Sean Byrum Leo makes work that is deeply 210 Faculty rooted in storytelling, that investigates the use of media as Signature Theater, WP Theater, New World Stages, The a performative tool, and that uses technology to explore Flea Theater, Classic Stage, Dixon Place, Here Arts Space, minimalist spectacle. In addition to his practice as a The Wild Project, and Williamstown Theatre Festival. designer, Leo has worked in New York City’s cultural sector Stunt credits include feature films—The Wolf of Wall for several years. He has produced festivals of exciting, Street, Enchanted, Across the Universe—and television genre-defying performances; managed venues and shows—30 Rock, Gotham, Big Dogs, House of Cards, welcomed audiences all over New York; supported artists Boardwalk Empire. She is a founding member of Kendall in the creation of new projects; and helped fill a hotel with Cornell’s Clowns Ex Machina, an all-female clown troupe bespoke murals in every room. SLC, 2020– in residency at LaMama, ETC. Ockler is a certified Intimacy Director with Intimacy Directors International and Dominic Leppla Film History Intimacy Directors and Coordinators. She teaches/directs MA, Birkbeck University of London. PhD, Mel Hoppenheim intimacy and violence in performance at Tisch Drama, The School of Cinema, Concordia University. A guest faculty Meisner Studio, Playwrights Horizons, Atlantic Theater member at the College, Leppia’s primary research interest School, National Theater Institute, The New School for concerns the limits of realism in post-1968 political Drama, HB Studios, Stella Adler Studios, The American filmmaking. He has written several articles on the topic, Academy of Dramatic Arts, and The American Musical and particularly with respect to Polish cinema and the director Dramatic Academy, NYC. SLC, 2021- Krzysztof Kieślowski. His current projects include a historical-speculative look at antifascist film aesthetics, An Li The John A. Hill Endowed Chair in Economic as well as the oeuvre of director Andrzej Żuławski. SLC, Analysis—Economics 2021– BA, MA, Renmin University of China, Beijing. PhD, University of Massachusetts, Amherst. Teaching areas Billy Lester Music (Jazz Piano) include microeconomics and macroeconomics, BA, Lehman College. Manhattan School of Music. Taught environmental economics, political economy, urban and at Diller-Quaile Music School; music appreciation at regional economics, international trade, and economics of Lehman College; private teaching, 1976-present. Solo public policy. Current research interests include the concert: Heineken Jazz Festival, 1984. Six recordings. political economy of environmental justice, environmental “Storytime” nominated by NPR as one of the best in jazz of justice in developing countries, property-right regimes and 2013. Performs in the United States and in Europe. SLC, the environment, the global outsourcing of pollution- 2017– generating activities, and the interaction between economic inequality and the environment. Recipient of Eric Leveau French, Literature (on leave spring semester) Sun Yefang Economic Science Award for theoretical and Graduate of École Normale Supérieure, Fontenay-Saint empirical research on economic crisis. SLC, 2019– Cloud, France. Agrégation in French Literature and Classics, Doctorate in French literature, Paris-Sorbonne. Jordan Demetrius Lloyd Dance Special interest in early modern French literature, with The College at Brockport (NY). A dance artist based in emphasis on theories and poetics of theatre, comedy and Brooklyn, NY, LLoyd has collaborated with and performed satire, rhetoric, and the evolution of notions of writer and for Karl Rogers, Netta Yerushalmy, Tammy Carrasco, style during the period. SLC, 2003-2006; 2008– Monica Bill Barnes, Catherine Galasso, Laura Peterson, Ambika Raina, and David Dorfman Dance. His teaching Linwood J. Lewis Psychology practice has brought him to Rutgers University, The BA, Manhattanville College. MA, PhD, City University of American Dance Festival, and Mark Morris Dance Center. New York. MS, Columbia University. Special interests in His work has been produced by New York Live Arts, BRIC, the effects of culture and social context on ISSUE Project Room, BAAD!, Movement Research at conceptualization of health and illness; effects of the Judson Memorial Church, The Center for Performance physical environment on physical, psychological, and Research, and Brooklyn Studios for Dance. Recently, he social health; multicultural aspects of genetic counseling; received the 2021-23 Jerome Hill Artist Fellowship. SLC, the negotiation of HIV within families; and the 2022– development of sexuality in ethnic minority adolescents and adults. Recipient of a MacArthur postdoctoral Matthew Lopez Dance fellowship and an NIH-NRSA research fellowship. SLC, BA, University of Central Florida. Studying theatre at 1997– Northeastern University. Dancer at Walt Disney World. Background dancer for Hillary Duff in the Christmas Day Judi Lewis Ockler Theatre Parade televised on ABC, Sean Kingston and Wyclef Jean BFA, New School. A professional intimacy director, fight on PBS, Demi Lovato on Good Morning America. Mascot director, stunt performer, teaching artist, and clown. for the New England Patriots and currently a Ockler’s directing work has found collaboration with choreographer for the New England Patriots cheerleaders. FACULTY 211 Featured on Live with Regis and Kelly. Audition facilitator Sun City, with Dire Straits, Bryan Adams, Cyndi Lauper, for a Nicki Minaj performance and lead dancer in Times Tina Turner, Bon Jovi, B-52s, the Pretenders, Nils Lofgren, Square for the debut of her album, Pink Friday: Roman Little Steven, Peter Wolf, Ian Hunter/Mick Ronson, two Reloaded. Choreographed for Madison Square Garden and former NY Dolls, Live at CBGB’s, the Spinners, Shannon, New York Knicks pre-game show; choreographed for R&B/ John Waite, and Pavarotti. Returned to Sarah Lawrence in Pop artist, Sid Haywoode, whose song, "No Excuses," was 2000 to work with Shirley Kaplan, William McRee, and #6 on Europe’s dance-hit chart. Serves on the committee Thomas Young. Fields of expertise: Hammond organ, rock- for the Bessie Dance Awards. Teaches across the United and-roll piano, synthesizer programming and sequencing, States and abroad in the Philippines, Japan, Colombia, piano accompaniment, popular and progressive music of Israel, Canada, and the United Kingdom. Selected as one of the 1950s-1990s. SLC, 1971-77, 2000– the Top 12 Dance Convention Teachers in the USA by Dance Informa Magazine. Currently teaching hip hop/ K. Lorrel Manning Theatre, Filmmaking and Moving street jazz at Steps on Broadway, Broadway Dance Center, Image Arts Ballet Hispanico, New York Theatre Ballet, and the New MFA, Columbia University. BFA, University of Georgia. York Film Academy. SLC, 2017– Award-winning filmmaker and theatre artist. Film festivals and awards include: South By Southwest (World premiere, Sifiso Mabena Theatre Narrative competition); Hamptons Film Festival (New York premiere); Discovery Award & Best Actor Award, Rhode Greg MacPherson Theatre Island International Film Festival; Audience Award–Best BA, University of Vermont. Studio and Forum of Stage Feature, Oldenburg International Film Festival; Jury Design, New York City. A member of United Scenic Artists Award–Best Film, Beaufort International Film Festival; and the Ensemble Studio Theatre and resident designer David Horowitz Media Literacy Award, Santa Fe Indie Film for the 52nd Street Project. Nominated for an American Festival; Best Film, North Country Film Festival; Best Film, Theatre Wing Award for lighting design of the EST Peace On Earth Film Festival; Opening Night Film, Kansas Marathon of One-Act Plays. Designed lighting for City Film Festival; Voice Award, Nominee. As a theatre hundreds of plays, musicals, and dance pieces in New York director and playwright, Manning has worked extensively City, around the United States, and in Europe, Australia, Off-Broadway and Off-Off Broadway. Most recently, he Japan, and the Caribbean. Designs have included new wrote, directed, and starred in the critically-acclaimed Off- plays by Arthur Miller, David Mamet, Neil LaBute, Tracy Broadway play AWAKE, which received its world premiere Letts, Romulus Linney, Lanford Wilson, Richard Greenberg, at the Barrow Group Theatre Company. Other recent David Ives, John Guare, Will Scheffer, Joyce Carol Oates, theatre directing work includes: a new, critically- John Patrick Shanley, Thomas Babe, Wallace Shawn, acclaimed adaptation of Henrik Ibsen’s An Enemy of the Steve Martin, Marsha Norman, Craig Lucas, Edward Allen People (co-written with Seth Barrish) and John Yearley’s Baker, Stewart Spencer, Horton Foote, Shel Silverstein, The Unrepeatable Moment. Manning is currently and Paul Weitz. SLC, 1990– developing his second feature film, a television series, and a full-length documentary on young Cameroonian painter Nicole Maloof Visual and Studio Arts Ludovic Nkoth. SLC, 2018– BFA, BA, Boston University. MFA, Columbia University. Interdisciplinary practice in drawing, printmaking, and Caden Manson Director, Theatre Program—Theatre video. Finalist for a New York Foundation for the Arts grant A performance and media artist, Manson is co-founder of in printmaking/drawing/book arts. Work exhibited at the the performance ensemble Big Art Group, editor Boston Center for the Arts, Franklin Street Works, at Contemporary Performance, and curator of the International Print Center New York, and the Jewish annual Special Effects Festival in New York City. He has Museum. Recent teaching positions include courses in co-created, directed, media- and set-designed 22 Big Art drawing and printmaking at Williams College. SLC, 2018– Group productions; shown video installations in Austria, Germany, New York City, and Portland; performed Pain Thomas Mandel Theatre Killer in Berlin, Singapore, and Vietnam; and taught in BA, Bowdoin College. Songwriting with Paul Simon, New Berlin, Rome, Paris, Montreal, New York City, and Bern. York University, 1969; taught Singing Workshop with John Big Art Group has toured throughout Europe and North Braswell at Sarah Lawrence (1971-77); scored musicals at America and has been co-produced by the Vienna Festival, Sarah Lawrence, Astor Place Theatre, and Cafe LaMaMa, Festival d’Automne a Paris, Hebbel Am Ufer, Rome’s La Vie New York City; composed, orchestrated, and musical- de Festival, PS122, and Wexner Center for the Arts. directed three rock operas Off-Off Broadway and at Sarah Manson is a Foundation for Contemporary Arts fellow, Pew Lawrence. (The first, Joe’s Opera, was twice optioned for fellow, and MacDowell fellow and has been published in Broadway production; animated the second, The Sea of PAJ, Theater Magazine, Theater der Zeit, and Theatre Simile, on a full-length DVD.) Toured and recorded Journal. SLC, 2019– (1977-1998) from Vietnam to Vienna, New York City to 212 Faculty Adil Mansoor Theatre, Theatre MFA Program Rona Naomi Mark Filmmaking and Moving Image Arts MFA, Carnegie Mellon University. A theatre director and BA, Hebrew University of Jerusalem. MFA, Columbia educator centering the stories of queer folks and people of University. Award-winning writer, director, and producer. color, Mansoor’s directing projects include Gloria by Festivals and awards include: Best of Fest, Edinburgh Branden Jacobs-Jenkins (Hatch Arts), Chickens in the International Film Festival; Audience Choice Award, Yard by Paul Kruse (Hatch Arts and Quantum Theatre), Filmmaker Magazine; Scenario Award, Canadian Desdemona’s Child by Caridad Svich (Carnegie Mellon International Film and Video Festival; Best Short (second University), Dark Play or Stories for Boys by Carlos Murillo place), Galway Film Fleadh; Best Comedy/Best of Night, (Carnegie Mellon University), and an upcoming ensemble- Polo Ralph Lauren New Works Festival; BBC’s Best Short generated piece with Pittsburgh Playhouse. Mansoor’s Film About the Environment, Tel Aviv International solo performance—adapting Sophocles’s Antigone as an Student Film Festival; opening-night selection, Three apology to and from his mother, Amm(i)gone—is being co- Rivers Film Festival; Hong Kong International Jewish Film commissioned by Kelly Strayhorn Theatre in partnership Festival; Irish Reels Film Festival; Seattle True with The Theatre Offensive and the National Performance Independent Film Festival; New Filmmakers Screening Network. Mansoor has developed and directed new work Series; Hoboken International Film Festival; Miami Jewish through New York University, Bronx Academy of Arts and Film Festival; Munich International Student Film Festival; Dance, The Frank-Ratchye STUDIO for Creative Inquiry, Palm Beach International Jewish Film Festival; Pittsburgh and PearlArts Studio. He is a founding member and Israeli Jewish Film Festival; Toronto Jewish Film Festival; resident director with Pittsburgh’s Hatch Arts Collective, a Vancouver Jewish Film Festival; finalist, Pipedream member of DirectorsLabChicago, a Gerri Kay New Voices Screenplay Competition; third prize, Acclaim TV Writer Fellow with Quantum Theatre, and a 2050 Fellow with the Competition; second place, TalentScout TV Writing NYTW. As an educator, Mansoor has worked with Competition; finalist, People’s Pilot Television Writing Middlebury College, Carnegie Mellon University, The Mori Contest; Milos Forman Award; finalist, Academy of Motion Art Museum, and The Warhol. He led educational Picture Arts and Sciences Student Film Awards. Current programming at Dreams of Hope, an LGBTQA+ youth arts feature film projects include: screenwriter/director/ organization in Pittsburgh, for more than five years. SLC, producer, Strange Girls, Mdux Pictures, LLC; screenwriter/ 2020– director, Shoelaces. SLC, 2007–

Darian Marcel Parker Dance James Marshall Computer Science PhD, MPhil, MA, Yale University. BA (College of Honors), BA, Cornell University. MS, PhD, Indiana University- UCLA. A choreographer, specializing in West African dance Bloomington. Special interests in robotics, evolutionary forms from Guinea and Mali, Dr. Parker's work has computation, artificial intelligence, and cognitive science. received support from the Jerome Foundation, Harlem Author of research papers on developmental robotics, Stage Fund for New Work, and New Haven Arts Council. neural networks, and computational models of analogy; His performance credits include Step-Up 3D, the author of the Metacat computer model of analogy. SLC, G’Bassikolo Mexican Tour, and the Fats Waller US tour. He 2006– has also performed with artists such as Meshell N’Degeocello, Jason Moran, and Maija Garcia and has Kyle Marshall Dance been a member of companies such as Kouman Kele, BFA, Rutgers University. A choreographer, performer, and Kouffinenek K e, Sewee African Dance Company, and teaching artist, Marshall recently received the 2020 Harambee Dance Company. Dr. Parker completed teaching Dance Magazine Harkness Promise Award and a New York residencies at SUNY Purchase and currently serves on the “Bessie” Award nomination for the production Colored. His faculty of Cumbe Center for African and Diaspora Dance in dance company, Kyle Marshall Choreography (KMC) sees Brooklyn, NY. Among his many teachers are Nzingha the dancing body as a container of history, an igniter of Camara, Aly Tatchol Camara, Mouminatou Camara, and social reform, and a site of celebration. Since inception in Ibrahim Doumbia. Dr. Parker is the author of Sartre and No 2014, KMC has performed at venues that include: BAM Child Left Behind: An Existential Psychoanalytic Next Wave Festival, Jacob’s Pillow Inside/Out, Joe’s Pub at Anthropology of Urban Schooling (Rowman & Littlefield the Public, Actors Fund Arts Center, NJPAC, NYC Press, 2015) and “The Haze,” which appears in Pedagogies Summerstage, and Roulette. He has also received in the Flesh (Palgrave MacMillan, 2018). He is also the commissions from “Dance on the Lawn” Montclair’s Dance founder and CEO of Parker Academics Festival, and Harlem Stage. Marshall has been in residence (www.parkeracademics.com), a test prep and tutoring at the 92nd Street Y, CPR, Jamaica Performing Arts company based in Manhattan. SLC, 2019- Center, and is currently a resident performance artist at MANA Contemporary. As a teacher, Marshall conducts dance master classes and creative workshops at schools that include; American Dance Festival, Montclair State FACULTY 213 University, Ailey/Fordham, County Prep High School, and choreographers Sara Rudner, Vicky Shick, Jon Kinzel, John Bloomfield College. He is a member of the Trisha Brown Jasperse, Liz Roche, and Susan Rethorst. Currently, she Dance Company and also danced with doug elkins also teaches at Barnard College at Columbia University, choreography, etc. and Tiffany Mills Company. New York University (in the Experimental Theatre Wing), and Trevor Day School. SLC, 2013– Jeffrey McDaniel Writing BA, Sarah Lawrence College. MFA, George Mason Johnnie Cruise Mercer Dance University. Author of five books of poetry, most recently BFA, Virginia Commonwealth University. Recently Chapel of Inadvertent Joy (University of Pittsburgh Press, acknowledged as a 2021 Princess Grace Award Recipent in 2013). Other books include The Endarkenment Choreography, Mercer is a queer Black thinker, maker, (Pittsburgh, 2008), The Splinter Factory (Manic D Press, performer, educator, and social entrepreneur born in 2002), The Forgiveness Parade (Manic D Press, 1998), Richmond, Virginia, and based in New York City. He has and Alibi School (Manic D Press, 1995). His poems have had the privilege of performing for, and collaborating with, appeared in numerous journals and anthologies, including Antonio Brown, Monstah Black (The Illustrious Blacks), Best American Poetry in 1994 and 2010. Recipient of an Andre Zachery, Yon Tande, Ishmael Houston-Jones (2018 NEA fellowship. SLC, 2011– remount of THEM), Netta Yerushalmy, Maria Bauman/ MBDance, Edisa Weeks/Delirious Dances, and Antonio William D. McRee Theatre Ramos; he was also a part of Ishmael Houston-Jones’s and BA, Jacksonville University. MFA, Sarah Lawrence College. Miguel Gutierrez’s Bessie Award-winning reconstruction/ Co-founder and artistic director for Jacksonville’s A reimaging Variations on Themes from Lost and Found: Company of Players, Inc.; productions with The Actor’s Scenes from a Life and other works by John Bernd. An Outlet, Playwrights Horizons, Summerfest, and the active educator, Mercer teaches in the New York public Ensemble Studio Theatre. SLC, 1981– school system through The Leadership Program, a mentorship-based organization that uses art to engage Aixa Rosario Medina Theatre restorative justice and self empowerment. Mercer has also For the past two decades Aixa has been living in been on the teaching faculty at the American Dance Westchester and fully engaged in sharing her skills with Festival, Bates Dance Festival, Pratt Institute, NYU Tisch, numerous community organizations, including but not Gibney, University of Massachusetts Amherst, DeSales limited to: Youth Theatre Interactions, The Hudson River University, Muhlenberg College, and the University of Museum, Yonkers Public Schools, The Gateway Program Texas at Austin (in residence as its 2016 Vanguard and Wartburg Senior Center. Professional experience Choreographer). His most recent processes and artistic includes: Broadway, regional and international theaters; work have been hosted and presented by: The 92Y industrials, TV, film, commercials, choreographer, Harkness Dance Center, Gibney: Agnes Varis Performing assistant choreographer, dance instructor and dance and Arts Center, TheShed, Bronx Academy of Arts and Dance theatre director and coordinator. She also owns a Pilates (BAAD!), The Dixon Place, Danspace Project Inc, The studio in Yonkers, Mind-Body Pilates, teaches Pilates for Fusebox Festival, Mana Contemporary, The NADA the Lion King Company on Broadway and works as a Conference, Abrons Arts Center, and most recently at The faculty member for the Civic Engagement Theatre Clarice Performing Arts’s The BlackLight Summit. Mercer Program in the Sarah Lawrence College Theatre Program. has had the honor of being in community with The 92Y Jodi Melnick Dance Harkness Dance Center (2016-2017 AIR), Cuny Dance BFA, State University of New York–Purchase. Initiative at York College (2017-2018 AIR), NYU Tisch Choreographer, performer, and teacher. A 2012 Dance (2018 Summer Creative Residency), Bates Dance Guggenheim fellow and recipient of the Jerome Robbins Festival (2018 AIR), Abrons Arts Center (AIRSpace 2018), New Essential Works grant (2010-2011), a Foundation for Stephen Petronio Center (2019 Partnership Residency Contemporary Arts award, 2011 Grants to Artists award, Program), Brooklyn Arts Exchange (AIR 2019-2021), and and two Bessies (2001 and 2008). Her dances have been The New Dance Alliance (Black Artists Space to Create performed at The Joyce Theatre and City Center in New Inaugural AIR 2020-2021); he was a Creative Fellow with York City; her works have been commissioned and Ping Chong and Company, working in Archival Storytelling presented by The Kitchen (Fanfare, with set décor by Burt and Creative Media for their 2020-2021 season. He is the Barr), Dance Theater Workshop, La Mama for OtherShore founder and company director of TheREDprojectNYC Dance Company, Jacob’s Pillow, The American Dance (TRPNYC), a multidisciplinary arts ensemble dedicated to Festival, Barnard College, Bennington College, Dance Box, the study of movement philosophy and its use toward Kansai, Japan, and opening the Dublin Dance Festival building communal spaces for Black/other process, (2011) at the Irish Museum of Modern Art. She has worked documentation, and investigation. Together, Mercer and with a vast array of dance artists such as Twyla Tharp and TRPNYC are in their fourth year of the company’s current Mikhail Baryshnikov and continues to perform with six-year project: “A Process Anthology: The Decade From 214 Faculty Hell and the Decade That Followed Suite.” Charted as 10 Memorial; Like a Holy Crusade: Mississippi 1964; The individual memoir-based happenings/events, the full Crowd in American Literature; and American and English project will soon come to a close with two DocuEpic Works Fiction in the 19th Century. Editor of Getting Out: Historical set to launch in fall 2022 (commissioned by Gibney) and Perspectives on Leaving Iraq; Debating Affirmative Action; spring 2024. SLC, 2022– Arguing Immigration; Culture in an Age of Money; Busing USA; The New Journalism; and The New Killing Fields. Contributor to The New Republic, The Daily Beast, The Riad Miah Visual and Studio Arts Boston Globe, The New York Times, Chicago Tribune, San Francisco Chronicle, Newsday, The Nation, Yale Review, Roberta Michel Music (Flute) National Law Journal, and The Guardian; editorial board BA, University of Colorado at Boulder. MM, member, Dissent magazine. Recipient of fellowships from SUNY–Purchase. DMA, City University of New York the Woodrow Wilson Foundation, American Council of Graduate Center. Recipient of the Artists International Learned Societies, and the Rockefeller Foundation. SLC, Special Presentation Award, debuted at Carnegie Hall’s 1972– Weill Recital Hall. Winner, National Flute Association’s Graduate Research Competition, Purchase College Nike Mizelle German Baroque Concerto Competition. Bang on a Can Summer BA, Queens College. MA, MPhil, Graduate Center of the Institute fellow. Participant in the Institute and Festival of City University of New York. Special interests in New Contemporary Performance at Mannes College, Banff German Cinema, German Romanticism, contemporary Festival, and Domaine Forget. SLC, 2017– German authors, and 20th-century art history. Translator of articles on German music; contributor to Pro Helvetia Sharon Milanese Dance Swiss Lectureship. Monika Maron Symposium BFA, Southern Methodist University, Meadows School of chairperson, Ghent University, Belgium. SLC, 1987– the Arts. AOS in Massage Therapy, Pacific College of Health and Sciences. Certified Pilates and Zero Balancing Alex Moore Art History practitioner; private movement and manual therapy practice in New York City and New Jersey. A Bill Moring Music (Bass, Jazz Ensembles) compassionate human being who is fascinated with the Indiana State University. Taught at Montclair State moving body, Milanese has been immersed in the world of University, NJPAC Jazz for Teens, Long Island University. movement as a professional dance artist, educator, and Lectures and concerts with Staten Island Chamber Music bodyworker for more than 20 years and is in love with the Players Jazz Quartet. Adjudicator at numerous high limitless exploration that is possible with the human schools and universities across the United States and form. She has most notably danced for the Lucinda Childs Europe; private teacher and ensemble coach. Recipient: Dance Company; Robert Wilson & Philip Glass in the National Endowment for the Arts Study Grant, Rufus Reid. opera, “Einstein on the Beach”l and in Merce Performances, notable festivals, and concerts: Cunningham’s Centennial Celebration, “Night of 100 Tchaikovsky Hall, Moscow; Monterey Jazz Festival, Solos.” Milanese has also performed with various artists California; JVC Jazz Festival, New York; Carnegie Hall, Nee and companies, including New York Theatre Ballet, York; Wigan Jazz Festival, England; Estoril Jazz Festival, CorbinDances, Heidi Latsky, Liz Gerring, Dusan Tynek, and Portugal. SLC, 2017– Patricia Hoffbauer. Her teaching affiliations include Gibney Dance Center, Paul Taylor Dance Company, Limon Dance Mary Morris Writing (on leave spring semester) Company, New York University, Barnard College, George BA, Tufts College. MPhil, Columbia University. Novelist, Mason University, Stockton University, American Ballet short-story writer, and writer of travel literature. Author of Theater JKO School, and Centre National De La Danse. As the novels The Jazz Palace, Crossroads, The Waiting Room, the former rehearsal director of the Lucinda Childs Dance The Night Sky, House Arrest, Acts of God, and Revenge; the company, she had the great pleasure of setting and short-story collections Vanishing Animals and Other coaching the work of Lucinda Childs. SLC, 2022- Stories, The Bus of Dreams, and The Lifeguard Stories; the travel memoirs Nothing to Declare: Memoirs of a Woman Nicolaus Mills Literature Traveling Alone and Wall to Wall: From Beijing to Berlin by BA, Harvard University. PhD, Brown University. Special Rail; an anthology of the travel literature of women, interest in American studies. Author of Every Army Man is Maiden Voyages and Angels and Aliens: A Journey West; With You: The Cadets Who Won the 1964 Army-Navy recent work published in Atlantic Monthly, Narrative, and Gamr, Fought in Vietnam, and Came Home Forever Ploughshares. Recipient of the Rome Prize in Literature Changed, Winning the Peace: The Marshall Plan and and grants from the Guggenheim Foundation, National America’s Coming of Age as a Superpower; The Triumph of Endowment for the Arts, and Creative Artists Public Meanness: America’s War Against Its Better Self; Their Service Awards. SLC, 1994– Last Battle: The Fight for the National World War II FACULTY 215 Bari Mort Music Art Center, and The Kitchen, among others. His works have BFA, State University of New York–Purchase. MM, The been acknowledged by a John Simon Guggenheim Juilliard School. Pianist, winner of Artists International Fellowship in Choreography; the Doris Duke Impact Award Young Musicians Auditions; New York recital debut at in Theatre; a Foundation for Contemporary Arts Artists Weill Recital Hall at Carnegie Hall. Member of New York Grant; plus fellowships in both choreography and Chamber Ensemble; performed with International String multidisciplinary works from the New York Foundation for Quartet, Musica de Camera, Da Capo Chamber Players, the Arts. A New York Dance and Performance “Bessie” Colorado String Quartet, American Symphony Orchestra, Award was given for his work Spooky action at a Columbia Artists’ Community Concerts. Broadcasts distance. Moss was curator of dance and performance at include PBS’s Live From Lincoln Center and NPR in New The Kitchen from 1999-2004 and a curatorial advisor until York and San Francisco. Recorded for ERM Records and 2009. He has lectured internationally, including at Tokyo Albany Records. Faculty member, Bard College, University of the Arts, Kookmin University in Seoul, and 1997-2006. SLC, 2008– Harvard University in the department of Visual and Environmental Studies, for which he received a Certificate Brian Morton Writing of Distinction in Teaching from the Derek Bok Center for BA, Sarah Lawrence College. Author of five novels, Teaching and Learning. Recently, Moss was a member of including Starting Out in the Evening and Florence Gordon, the resident faculty at Skowhegan School of Painting and and contributing editor of Dissent magazine. He has Sculpture; on the dance faculty at Princeton University; received the Guggenheim Foundation Fellowship, the and co-taught the video and performance composition Award in Literature from the American Academy of Arts course Bodies, Spaces, Intimacy and Power in the Age of and Letters, the Koret Jewish Book Award for Fiction, and Covid Isolation in the Painting Department at Rhode Island the Pushcart Prize and has been a finalist for the PEN/ School of Design. During the 2021-22 academic year, he Faulkner Award and the Kirkus Prize for Fiction. SLC, will join the department of Kinetic Imaging at Virginia 1998– Commonwealth University. He is also honored to serve on the board of directors of the Foundation for Contemporary April Reynolds Mosolino Writing Arts. SLC, 2017– BA, Sarah Lawrence College. Taught at the 92nd Street Y and New York University. Her short story, Alcestis, Jamee Moudud Economics (on leave spring semester) appeared in The Bluelight Corner: Black Women Writing on BS, MEng, Cornell University. MA, PhD (Honors), The New Passion, Sex, and Romantic Love; her fiction work has School for Social Research. Current interests include the appeared in the anthology Mending the World With Basic study of industrial competition, the political economy of Books, 110 Stories: New York Writes After September 11 the developmental welfare state, the determinants of (New York University Press) and in The Heretics Bible business taxes, and the study of Schumpeter’s analysis of (Free Press). Her first novel, Knee-Deep in Wonder, won the tax state. SLC, 2000– the Zora Neale Hurston/Richard Wright Foundation Award. Her second novel, The Book of Charlemagne, is Patrick Muchmore Music forthcoming (Free Press/Simon & Schuster). SLC, 2003– BM, University of Oklahoma. Composer/performer with performances throughout the United States; founding Dean Moss Dance member of New York’s Anti-Social Music; theory and A choreographer, video artist, curator, and lecturer in composition instructor at City College of New York. SLC, interdisciplinary dance and media composition, Moss 2004– directs a project-based company called Gametophyte Inc. A longtime New Yorker, he has had a wide range of dance Joshua Muldavin Geography training, including a short period working directly with BS, MA, PhD, University of California-Berkeley. Special Martha Graham, touring with the Louis Falco Dance interests in China, Japan, and Asia policy, rural Company, and performing in the Paris company of development, international aid, agriculture and food, Broadway’s revival of West Side Story, all in the early climate change, environment, political economy, and 1980s. Notably, he also danced for 10 years (1983-93) political ecology. Current research projects analyze with the postmodern choreographer David Gordon in his international environmental policy and impacts on local Pick-up Performance Company. These experiences resource use and vulnerability in the Himalayan region; manifest indirectly through his own work and its use of climate change policy; socialist transition’s environmental transcultural, multimedia performance collaborations that and social impacts in China; sustainable agriculture and often incorporate audience participation. Moss’s food systems; global resource and development conflicts performance works have been commissioned by the New via capital flows to Africa, Latin America, and South/ York Museum of Modern Art, Whitney Museum of Southeast Asia; and aid to China since 1978. Twenty-eight American Art, Massachusetts Museum of Contemporary years of field research, primarily in rural China. Recipient Art, P.S.1, Seoul International Dance Festival, Yerba Buena of grants from National Science Foundation, Social 216 Faculty Science Research Council, Ford Foundation, MacArthur Ellen Neskar Merle Rosenblatt Goldman Chair in Asian Foundation, and Fulbright. Invited lecturer at Princeton, Studies—Asian Studies Yale, Oxford, Johns Hopkins, US Congressional BSc, University of Toronto. MA, MPhil, PhD, Columbia Commission, European Parliament. Executive director of University. Special interest in the social and cultural the Action 2030 Institute. Contributor to The Political history of medieval China, with emphasis on the Geography Handbook, Economic Geography, Geopolitics, intersection of politics and religion; author of Politics and Environment and Planning A, Geoforum, and Annals of the Prayer: Shrines to Local Worthies in Sung China; member, Association of American Geographers, International Herald Association of Asian Studies; recipient of an American Tribune, BBC World News, and other media outlets. SLC, Council of Learned Societies grant. SLC, 2001– 2002– David Neumann Theatre (on leave fall semester) Parthiban Muniandy Sociology As artistic director of the advanced beginner group, work BA, PhD, University of Illinois. Research focuses on presented in New York City at P.S. 122, Dance Theatre temporary labor migration in Southeast Asia and South Workshop, Central Park SummerStage (collaboration with Asia; particular interest in exploring how new regimes of John Giorno), Celebrate Brooklyn, and Symphony Space migration are emerging, under which “temporary labor” (collaboration with Laurie Anderson). Featured dancer in migrants are becoming increasingly commonplace in fast- the works of Susan Marshall, Jane Comfort, Sally Silvers, developing societies in Asia, and how informality and Annie-B Parson & Paul Lazar’s Big Dance Theatre, and informal practices become important elements that affect club legend Willi Ninja; previously a member of Doug the lives of migrant women and men. Author of Politics of Varone and Dancers and an original member and the Temporary: Ethnography of Migrant life in Urban collaborator for eight years with the Doug Elkins Dance Malaysia (2015) and peer-reviewed articles in Company. Over the past 20 years, choreographed or International Sociology, Journal of Ethnic and Migration performed with directors Hal Hartley, Laurie Anderson, Studies and Asian Journal of Social Science. Former Robert Woodruff, Lee Breuer, Peter Sellars, JoAnn appointments: Lecturer of Global Studies, University of Akalaitis, Mark Wing-Davey, and Les Waters; recently Illinois at Urbana-Champaign. SLC, 2017– appeared in Orestes at Classic Stage Company, choreographed The Bacchae at the Public Theatre, and Adrianna Munson Sociology performed in a duet choreographed with Mikhail BA, Seattle Pacific University. PhD, Columbia University. Baryshnikov. SLC, 2007– Munson's research brings together the sociology of knowledge, law, and cultural sociology in order to Crystal Ng Biology understand autonomy as both a concept that structures BA, University of California–Berkeley. PhD, Stanford social interaction and a moral good; special interest in the University. Postdoctoral Fellow, Chapman University nature of autonomy and adulthood for people with (2019-2020). Postdoctoral Research Associate, disabilities. She uses ethnography, interviews, and University of Connecticut (2020-2021). Marine ecologist historical analysis to investigate the ways in which with a special interest in climate-change effects on knowledge about people is produced and how it is species interactions in nearshore communities (kelp instantiated in law and social practice. Author of peer- forests and intertidal pools). Author of articles on reviewed articles in Qualitative Sociology and Theory and herbivore impacts on kelp, climate-change impacts on Society. SLC, 2021- herbivore feeding rates, and overfishing. Previously taught at Chapman University and the University of Connecticut, Priscilla Murolo History Stamford campus. SLC, 2022– BA, Sarah Lawrence College. MA, PhD, Yale University. Special interest in US labor, women’s, and social history; Philipp Nielsen History author, The Common Ground of Womanhood: Class, BSc, London School of Economics and Political Science. Gender, and Working Girls’ Clubs; co-author, From the PhD, Yale University. Philipp Nielsen specializes in the Folks Who Brought You the Weekend: A Short, Illustrated intellectual, cultural, and political history of modern History of Labor in the United States; contributor to Europe, with particular emphasis on German and Jewish various encyclopedias and anthologies and to educational history. Research addresses the history of democracy and projects sponsored by labor and community organizations; its relation to emotions, constitutional law, and reviewer for Journal of American History, Journal of Urban architecture. His first monograph, Between Heimat and History, International Labor and Working Class History, Hatred: Jews and the Right in Germany, 1871-1935 (Oxford and other historical journals; contributor and editorial University Press, 2019) traces the involvement of German associate, Radical History Review; recipient of Hewlett- Jews in nonliberal political projects from the founding of Mellon grants. SLC, 1988– the German Empire to the Nuremberg Laws. He also also co-edited volumes on the connection between architecture, democracy and emotions, and emotional FACULTY 217 encounters in history. He is currently working on a Stephen O’Connor Writing manuscript on “democratic architecture” in postwar BA, Columbia University. MA, University of Germany, and on a short history of compromise. SLC, California–Berkeley. Author of the novel Thomas Jefferson 2016– Dreams of Sally Hemings; two collections of short fiction, Here Comes Another Lesson and Rescue; two works of Jennifer Nugent Dance nonfiction, the memoir Will My Name Be Shouted Originally from Hollywood, Florida, Nugent has been living Out? and Orphan Trains; The Story of Charles Loring Brace and working in New York City since 1998. Her practices are and the Children He Saved and Failed, history/biography; profoundly inspired by Daniel Lepkoff, Wendell Beavers, and Quasimode, poetry, forthcoming. Fiction and poetry Patty Townsend, Thomas F. DeFrantz, and Paul Matteson. have appeared in The New Yorker, Conjunctions, One Story, Through performing and teaching, she aims to nurture the Electric Literature, Threepenny Review, The Missouri proposition of physicality as a theoretical and complex Review, The Quarterly, Partisan Review, The language that resides inside a rejuvenating container of Massachusetts Review; an excerpt from his novel-in- possibility. Nugent continues to augment these practices progress, We Want So Much to be Ourselves, will be in the through sharing and refining ideas in front of others—a February 2020 edition of Harper's. Essays and journalism transmission of spoken and gestural language. Since living have been published in The New York Times, DoubleTake, in New York City, she has performed most notably with Bill The Nation, AGNI, Chicago Tribune, Boston Globe, and New T. Jones/Arnie Zane Company (2009-2014), Paul Labor Forum, among others. Recipient of the Cornell Matteson (2002-2020), David Dorfman Dance Woolrich Fellowship in Creative Writing from Columbia (1999-2007), and Martha Clarke (2007-2008). She is University, the Visiting Fellowship for Historical Research currently a teaching artist at Gibney Dance (NYC), Sarah by Artists and Writers from the American Antiquarian Lawrence College, and the virtual platform freeskewl, Society, and the DeWitt Wallace/Reader’s Digest where she hosts a monthly series called Pedagogy/Poetic Fellowship from the MacDowell Colony. SLC, 1997, 2002– Entry. SLC, 2017– Philip Ording Mathematics Dennis Nurkse Writing BA, PhD, Columbia University. Research interests in BA, Harvard. Author of 10 books of poetry (under “D. geometry, topology, and the intersection of mathematics Nurkse”), including Love in the Last Days, The Border with the arts. Mathematical consultant to New York-based Kingdom, Burnt Island, The Fall, The Rules of Paradise, artists since 2003. Currently writing a compendium of Leaving Xaia, Voices over Water, and, most recently, A mathematical style to be published by Princeton Night in Brooklyn; poems have appeared in The New University Press. SLC, 2014– Yorker, Atlantic Monthly, and six editions of the Best American Poetry anthology series. Recipient of a literature Susan Orkand Clinical Education Coordinator—Dance/ award from the American Academy of Arts and Letters, a Movement Therapy Guggenheim fellowship, a Whiting Writers’ award, two BA, University of California–Los Angeles. MA, Goucher National Endowment for the Arts fellowships, two New College–Baltimore. Board-certified dance/movement York Foundation for the Arts fellowships, and two awards Therapist; certified movement analyst in the Laban from The Poetry Foundation; a finalist for the Forward Movement Analysis system; experienced registered yoga Prize for best poetry book published in the United teacher; more than 30 years of clinical and supervisory Kingdom. SLC, 2004– experience, including working with pediatric hematology/ oncology at Hackensack University Medical Center, New John O’Connor Visual and Studio Arts (on leave spring Jersey, for 18 years—seven of which were in an integrative semester) palliative care initiative on a pediatric intensive care unit BA, Westfield (Mass.) State College. MFA, MS, Pratt at The David Center for Children’s Pain and Palliative Care. Institute. Attended Skowhegan School of Painting and Previously, worked at Trinitas Hospital in Elizabeth, New Sculpture. Recipient of a New York Foundation for the Arts Jersey, for more than 10 years as a clinical specialist grant in painting and the Pollock-Krasner Foundation supervisor of the creative arts therapy program in a child grant. Taught at Princeton University, Pratt Institute, and and adolescent psychiatry department; before that, New York University. Recent exhibitions at Pierogi Gallery developed a movement-based program for children with in Brooklyn, Martin Asbaek Projects in Copenhagen, autism and their families. Recently worked with adults Fleisher Ollman Gallery in Philadelphia, and The Lab in with developmental disabilities as the director of Dublin (Ireland). His work is included in the collections of recreation therapy at Richmond Community Services in the Museum of Modern Art, Whitney Museum of American Mount Kisco, New York. Taught, led, and supervised Art, Southern Methodist University, and New Museum of workshops throughout her career; published many articles Contemporary Art. SLC 2010– and has been a principal investigator and co-investigator on research studies in pediatric oncology and palliative 218 Faculty care. Serves on the editorial board of the American Journal World Bank, LVMH, University of Pennsylvania, Citibank, of Dance Therapy and has maintained active involvement IBM, Brown University, Mastercard, West Chester in statewide and national activities associated with the University, Techstars Accelerator, Startup Weekend, and American Dance Therapy Association. SLC, 2014– many more. Osorio also teaches entrepreneurship and problem-solving at the University of Pennsylvania. SLC, Magdalena Ornstein-Sloan Psychology 2020– MA, Columbia University, Teachers College. MPH, Hunter College. PhD, CUNY, The Graduate Center. During 15 years Clifford Owens Visual and Studio Arts of work in the nonprofit sector and 20 years as a personal BFA, School of the Art Institute of Chicago. MFA, Mason health care advocate, Dr. Ornstein’s experience Gross School of the Arts, Rutgers University. Postgraduate, encompasses individual and public-policy advocacy Whitney Museum Independent Study Program and related to the delivery of long-term and end-of-life care. Skowhegan School of Painting and Sculpture. Solo She is a Certified Brain Injury Specialist (CBIS) and has exhibitions: MoMAPS1, Contemporary Arts Museum served on advisory boards of the New York State Officeor f Houston, Home (Manchester, England), others. Group the Aging Family Caregiver Council, New York State exhibitions: Walker Arts Center, The Studio Museum in Caregiving and Respite Coalition, Caregiving Youth Harlem, Yerba Buena Center for the Arts, The Kitchen, Research Collaborative, and American Association of Museum of Modern Art, others. Projects and Caregiving Youth. A public health geographer, her research performances: Brooklyn Academy of Music, Performa05 focuses on the experiences of family caregivers, and Performa13, and others. His exhibition book, specifically related to their experiences of their home Anthology, edited by Christopher Y. Lew, includes environments and interactions with the health care contributions by Kellie Jones, Huey Copeland, and John P. system. Special interests include brain injury, caregiving Bowles. His work has been reviewed in The New Yorker, youth and qualitative methods. SLC, 2015– The New York Times, Artforum, Art in America, Bomb, The Drama Review, and New York Magazine. His writings have Marygrace O’Shea Filmmaking and Moving Image Arts been published in The New York Times, PAJ: A Journal of BA, Haverford College. MFA, Columbia University Graduate Performance and Art, and Artforum. Owens is the recipient School of Film. Film and television writer with credits that of many grants and fellowships, including a William H. include NBC Universal/Wolf Films: Law & Order: Special Johnson Prize, a Louis Comfort Tiffany Award, and a Victims Unit and Law & Order: Criminal Intent; HBO: In Lambent Fellowship for the Arts. Recently, he was an artist Treatment, Season 2; Fox Television: Golden Parachutes/ in residence at Artpace and the MacDowell Colony. He has Thieves Like Us (creator, writer, and executive producer for been visiting faculty and a critic at Columbia University, the original TV series pilot) and Carnegie Heights (creator, Yale University, Cooper Union, and Virginia writer, and executive producer for the program in Commonwealth University. He was recently a visiting development). Member, Writers Guild of America East. artist at Williams College, Bard College, and Lafayette Recent awards: 2013 winner, Writer’s Guild of America College. SLC, 2019– East Screenplay Reading Series; winner, New York Screenplay Readings; winner, American Accolades Sayuri I. Oyama Japanese, Literature Screenwriting Competition. Honors: Hudson Valley Short BA, Yale University. MA, PhD, University of Film Festival, Manhattan Short Film Festival, Austin California–Berkeley. Special interests include modern Film Festival. SLC, 2013– Japanese literature and film, ethnic and other minorities in Japan, literature as translation, and translating literature. Roger Osorio Practicum Recipient of a Japan Foundation fellowship; University of MS, Walden University. MBA, Maryville University. BS, California–Berkeley, Townsend Center for the Humanities Pennsylvania State University. In the last 10 years as an Fellowship; Japan Society for the Promotion of Science executive coach, Osorio has served more than 3,000 Postdoctoral Fellowship. SLC, 2002– professionals, leaders, athletes, and students—guiding them toward clarifying their goals and main objectives, Yekaterina Oziashvili Politics reverse engineering a path to achieving those goals and BA, Barnard College. PhD, Graduate Center, City University objectives, and surfacing ever-increasing performance of New York. Research and teaching interests include from his clients. Since 2007, as an educator, he has served ethnic conflict, ethnofederalism, political parties and more than 5,000 students on topics that include electoral systems in multinational states, constitutional mathematics, entrepreneurship, leadership, and and electoral engineering, American constitutional law, education. As an executive coach and educator at IBM, he and, more broadly, American political development. explores and investigates problems or gaps in employee Recent awards include Fulbright/IIE Dissertation engagement and designs solutions to meet the needs of Fieldwork Fellowship and the Social Science Research his colleagues. In teaching, coaching, and speaking, he has Council’s International Dissertation Research Fellowship. served many organizations and institutions, including The FACULTY 219 Conducted field research in Russia. Taught courses in the Social: Bridging Theoretical Traditions (with Kay comparative and American politics at City University of Deaux), Racial Identity in Context: The Legacy of Kenneth New York’s Hunter College and Baruch College. SLC, 2012– B. Clark, and the forthcoming How the Right Made It Wrong: Names in the Shadow of the Political Correctness. David Peritz Politics Recipient of several grants, including the National Science BA, Occidental College. DPhil, Oxford University. Special Foundation and the American Psychological Association. interests in democracy in conditions of cultural diversity, Published several articles in professional journals and social complexity and political dispersal, critical social currently an associate editor of the Journal of Community theory, social contract theory, radical democratic thought, and Applied Social Psychology. SLC, 1998– and the idea of dispersed but integrated public spheres that create the social and institutional space for broad- Kevin Pilkington Writing Coordinator—Writing based, direct participation in democratic deliberation and BA, St. John’s University. MA, Georgetown University. decision-making. Recipient of a Marshall scholarship. Author of nine books of poetry, including: Spare Change Taught at Harvard University, Deep Springs College, and (1997), which was the La Jolla Poets Press National Book Dartmouth College; visiting scholar at Erasmus University Award winner; Ready to Eat the Sky (2004); In the Eyes of in Rotterdam and the London School of Economics. SLC, a Dog (2009), which won the New York Book Festival 2000– Award; and The Unemployed Man Who Became a Tree (2011), which was a Milt Kessler Poetry Book Award Mary Phillips Music finalist. Poems have appeared in numerous magazines, BA, Rhode Island College. MM, Yale University School of including: The Harvard Review, Poetry, Ploughshares, Music. Phillips, a mezzo-soprano, has worked in the Boston Review, Columbia, North American Review. His theatre for more than 30 years. Her Broadway debut was debut novel, Summer Shares, was published in 2012; his in the first revival of Stephen Sondheim's Sweeney Todd. collection Where You Want to Be: New and Selected Her talents led her into opera and oratorio. In the early Poems, in 2015. SLC, 1991– ’90a, she started performing with the Bronx Opera, Santa Fe Opera, and San Francisco Opera and has never stopped. Mary A. Porter Anthropology She is closely associated with the music of Wagner and BA, Manchester University. MA, PhD, University of Verdi. She has sung roles in Wagner's Der Ring Des Washington. Ethnographic studies in East Africa, the Nibelungen with The Metropolitan Opera, Canadian Opera, United Kingdom, and the United States. Areas of expertise Scottish Opera, Seattle Opera, Hawaii Opera, and Dallas include kinship theory, postcolonial studies, feminist Opera. She won a Grammy Award for her solo work in The anthropology, queer anthropology, educational studies, Met’s 2012 recording of The Ring Cycle; she made an and oral history. Current work examines discourses of acclaimed role debut as Brangäne in Tristan und Isolde for race, class, and kinship embedded in foster care and Dallas Opera and sang the role with the Winnipeg adoption, both domestically and transnationally. Co- Symphony. As a Verdi mezzo, Phillips has sung mezzo- author of Winds of Change: Women in Northwest soprano solos in Verdi’s Requiem, Eboli in Don Carlos, Commercial Fishing and author of articles on gender, Amneris in Aida, Azucena in Il Trovatore, and Preziosilla in kinship, education, and sexuality. Grants include Fulbright- La Forza del Destino. Concert highlights include numerous Hays Doctoral Research fellowship and Spencer performances of Handel’s Messiah with The Dallas fellowship. Consultant, UNESCO. Associate Dean of the Symphony, Teatro Massimo Bellini in Italy, Oratorio College, 2007-12. SLC, 1992– Society of New York at Carnegie Hall, The New Jersey Symphony, and Gulbenkian Orchestra in Lisbon; Mahler’s Liz Prince Theatre Symphony No. 8 with New York Philharmonic; and BA, Bard College. Designer of costumes for theatre, dance, Mahler’s Symphony No. 2 with Atlanta Symphony and film. Recent work includes Bill T. Jones’ Analogy (recorded for Telarc), Los Angeles Philharmonic, and Hong Trilogy for the Bill T. Jones/Arnie Zane Co., as well as We Kong Philharmonic. Upcoming performances of Shall Not Be Moved, the opera that Jones recently directed Beethoven‘s Symphony No. 9 with The Seattle Symphony for Opera Philadelphia, with music by Danial Bernard will be December 2021. Philipps is working on a new opera Roumaine and librettist Marc Bathmuti Joseph. Prince has with New York City Opera, with a production scheduled for designed numerous works for Bill T. Jones since 1990. January 2022. SLC, 2019– Other recent work includes Doug Varone’s In The Shelter of the Fold for BAM’s Next Wave Festival, as well as his Half Gina Philogene Psychology Life, commissioned by Paul Taylor Company’s 2018 PhD, École des Hautes Études en Sciences Sociales, Paris. Lincoln Center season. She has designed numerous works Interests in social and cultural psychology, history of for Varone since 1997. Other premieres this year include psychology, race, and social identity, as well as social works by Bebe Miller, Liz Gerring, and Pilobolus in representations. Author of From Black to African collaboration with Bela Fleck and Abigail Wasburn. American: A New Representation, The Representations of Prince’s costumes have been exhibited at The New York 220 Faculty Public Library for the Performing Arts; Cleveland Center Writer in Residence, Western Michigan University, 2014; for Contemporary Art; the 2011 Prague Quadrennial of recommendations editor at Post Road, 2010-present. SLC, Performance, Design and Space; Snug Harbor Cultural 2002– Center; and Rockland Center for the Arts. She received a 1990 New York Dance and Performance Award (BESSIE) Elise Risher Director, Dance/Movement Therapy and a 2008 Charles Flint Kellogg Arts and Letters Award Program—Dance/Movement Therapy from Bard College. SLC, 2017– BA, Trinity College. MS, Hunter College. MA, PhD, Long Island University. Board-certified dance/movement Maia Pujara Psychology therapist, licensed clinical psychologist. Twenty five years BA, Furman University (Greenville, South Carolina). PhD, of clinical experience working in both psychiatric and University of Wisconsin-Madison. Postdoctoral Fellow, community settings with infants, children, and adults. National Institute of Mental Health, National Institutes of Taught at Mercy College, Westchester Community College, Health (Bethesda, Maryland). Neuroscientist with a focus Long Island University, and The New School. Research on the effects of emotion (affect) on decision-making and interests include the impact of neurological disorders on positive mood inductions to improve decision-making, time perception and the intersection of psychotherapy and well-being, and mental health. Author of papers on the role Eastern philosophies. SLC, 2012– of the ventromedial prefrontal cortex and its interactions with subcortical brain areas in guiding learning about Elias Rodriques Literature rewards and making adaptive choices. SLC, 2020– BA, Stanford University. MA, PhD (expected), University of Pennsylvania. Special interest in African-American Molly Quinn Music literature, critical prison studies, black feminism and black Marxist thought. Essays published in The Guardian, The Victoria Redel Writing (on leave yearlong) Nation, Bookforum, n+1, and other venues. First novel, All BA, Dartmouth College. MFA, Columbia University. Author the Water I’ve Seen Is Running, forthcoming from Norton. of three books of poetry and five books of fiction, including His current academic book project considers her most recent, Before Everything (2017). For her representations of police violence in the African-American collection of stories, Make Me Do Things (2013), she was novel after 1945. SLC, 2021– awarded a 2014 Guggenheim fellowship for fiction. Her novels include The Border of Truth (2007) and Loverboy Fredrik Roennbaeck French (Graywolf, 2001/Harcourt, 2002), which was awarded the 2001 S. Mariella Gable Novel Award and the 2002 Forward Tristana Rorandelli Italian, Literature Silver Literary Fiction Prize and was chosen in 2001 as a BA (Magna cum laude), Università degli Studi di Firenze, Los Angeles Times Best Book. Loverboy was adapted for a Italy. MA, PhD (with distinction), New York University. feature film directed by Kevin Bacon. Swoon (University of Areas of specialization: 20th-century Italian women’s Chicago Press, 2003) was a finalist for the James writings; modern Italian culture, history, and literature; Laughlin Award. Her work has been widely anthologized fascism; Western medieval poetry and thought. Recipient and translated; her fiction, poetry, and essays have of the Julie and Ruediger Flik Travel Grant, Sarah appeared in numerous magazines and journals, including Lawrence College, for summer research, 2008; Penfield Granta.com, Harvard Review, The Quarterly, The Literarian, fellowship, New York University, 2004; and Henry Mitchell The New York Times, Los Angeles Times, O, The Oprah MacCracken fellowship, New York University, 1998-2002. Magazine, Elle, BOMB, More, and NOON. SLC, 1996– Publications: Nascita e morte della massaia di Paola Masino e la questione del corpo materno nel fascismo in Nelly Reifler The Ellen Kingsley Hirschfeld Chair in Forum Italicum (Spring 2003). Translations: The Other Writing—Writing Place, by Barbara Serdakowski, and Salvation, by Amor BA, Hampshire College. MFA, Sarah Lawrence College. Dekhis, in Multicultural Literature in Contemporary Italy Author of a story collection, See Through, and a novel, (editors Graziella Parati and Marie Orton, Fairleigh Elect H. Mouse State Judge; fiction in magazines and Dickinson University Press, 2007). SLC, 2001-2002; journals, including Story, Tweed’s, BOMB, McSweeney’s, 2004; 2005– Nerve, Black Book, The Milan Review, and Lucky Peach, as well as in the anthologies 110 Stories: New York Writes Andrew Rosenthal Politics After September 11, Lost Tribe: New Jewish Fiction From Malcolm Rosenthal Biology the Edge, Found Magazine’s Requiem for a Paper Bag, and BA, Oberlin College. PhD, University of Nebraska-Lincoln. No Near Exit: Writers Select Their Favorite Work From Post Postdoctoral research scholar at University of California- Road Magazine. Fiction also read on NPR’s Selected Shorts Berkeley. Behavioral ecologist with special interest in the and as an Audible à la carte edition. Recipient of a Henfield evolution of animal mating behavior. Author of papers on Prize, a UAS Explorations Prize, and a Rotunda Gallery spider mating behavior, the evolution of sexual signal Emerging Curator grant for work with fiction and art. FACULTY 221 complexity, and the relationship between environmental Fulbright-Hays Foundation, Social Science Research dynamics and animal communication. Previously taught at Council, American Institute of Pakistan Studies, and the University of Toronto. SLC, 2021– Council on American Overseas Research Centers. SLC, 1987– Bernice Rosenzweig The OSilas Endowed Professorship in Environmental Studies—Environmental Science Carrie Rubinstein Visual and Studio Arts BS, Rutgers University. PhD, Princeton University. Postdoctoral Research Associate, Environmental Sciences David Ryan Writing Initiative, City University of New York. Earth scientist with BA, University of Massachusetts. MFA, Bennington a special interest in urban hydrology and climate change College. Author of Animals in Motion: Stories (Roundabout resilience. Author of articles on green stormwater Press) and Malcolm Lowry’s Under the Volcano: infrastructure, adaptation to extreme rain, pluvial flooding, Bookmarked (Ig Publishing, 2017). His fiction has ecosystem-based nitrogen regulation, and resilience appeared in Esquire, Tin House, Fence, Electric Literature, indicators. Previously taught at Queens College and the BOMB, several Mississippi Review Prize issues, Denver City College of New York. SLC, 2020– Quarterly, Alaska Quarterly Review, New Orleans Review, Salt Hill, Cimarron Review, Unsaid, failbetter, and others. Jules Rosskam Filmmaking and Moving Image Arts Anthologies include Flash Fiction Forward (W. W. Norton), BA, Bennington College. MFA, School of the Art Institute of Boston Noir 2: The Classics (Akashic), and The Mississippi Chicago. An internationally award-winning filmmaker, Review: 30 Years. Essays, reviews, and interviews educator, and 2021 Creative Capital Awardee, Rosskam’s published in The Paris Review, Tin House, BOMB, most recent feature-length documentary, Paternal Rites Bookforum, The Oxford Encyclopedia of American Fiction (2018), premiered at MoMA’s Doc Fortnight and went on (Oxford University Press), and others. Recipient of a to win several festival awards. Rosskam is also the director MacDowell fellowship and a Connecticut State Arts grant. of Dance, Dance, Evolution (2019), Something to Cry Co-founding editor of Post Road Magazine, where he About (2018), Thick Relations (2012), against a trans currently edits the Fiction and Theatre sections. SLC, narrative (2009), and transparent (2005). His work has 2013– been screened at the Museum of Modern Art, the Museum of Fine Art Boston, the British Film Institute, Arsenal Keren Sadan Philosophy Berlin, Anthology Film Archives, Hallwalls Contemporary Gabriela Salazar Visual and Studio Arts Art Center, the Queens Museum of Art, the Museum of BA, Yale University. MFA, Rhode Island School of Design. Moving Images, and hundreds of film festivals worldwide. Salazar has exhibited in venues across the United States. He has participated in residencies at Yaddo, ISSUE Project She has been in residence with Workspace (LMCC) in Room, Marble House, PLAYA, and ACRE. He is currently 2014, Yaddo in 2013 (Louise Bourgeois Residency for a Assistant Professor of Visual Arts at University of Sculptor), The MacDowell Colony in 2009, Skowhegan Maryland Baltimore County. SLC, 2021– School of Painting & Sculpture in 2011, Abrons Arts Center Shahnaz Rouse Joseph Campbell Chair in the in 2018, “Open Sessions” at The Drawing Center in 2015, Humanities—Sociology and, most recently, the Socrates Emerging Artist BA, Kinnaird College, Pakistan. MA, Punjab University, Fellowship in 2019. She has had solo exhibitions at Pakistan. MS, PhD, University of Wisconsin-Madison. NURTUREart, The Bronx River Arts Center, The Lighthouse Special student, American University of Beirut, Lebanon. Works, the Efrain Lopez Gallery, and SLAG Gallery. Academic specialization in historical sociology, with Salazar’s work has been included in group shows at emphasis on the mass media, gender, and political Socrates Sculpture Park, the Queens Museum, El Museo economy. Author of Shifting Body Politics: Gender/Nation/ del Barrio, The Drawing Center, David Nolan Gallery, and State, 2004; co-editor, Situating Globalization: Views from Storm King Art Center, among others, and has been Egypt, 2000; contributor to books and journals on South reviewed in The New York Times, The New Yorker, Asia and the Middle East. Visiting faculty: Lahore School of hyperallergic, Art in America, and The Brooklyn Rail. Economics-Graduate Institute of Development Studies, Salazar’s next solo exhibitions are both in fall 2021 with University of Hawaii at Manoa, and American University in The Climate Museum in Washington Square Park, New Cairo. Editorial Board member and book review editor, York City, and the River Valley Arts Collective at the Al Dialectical Anthropology. Past member, editorial advisory Held Foundation, Boiceville, NY. Other projects include board, and contributor to Indian Sociology. Past member, Carousel, a roving curatorial venture on a slide projector, editorial committee, of the Middle East Research and started in 2013. She has been teaching art at all age and Information Project. Past consultant to the Middle East skill levels for more than 15 years, including at various New and North Africa Program of the Social Science Research York City high schools and at the Anderson Ranch Arts Council, as well as to the Population Council West Asia Center. SLC 2021- and North Africa OfficeC ( airo). Recipient of grants from 222 Faculty Misael Sanchez Filmmaking and Moving Image Arts Schubert Festival, Amsterdam; research fellow, Newberry BFA, New York University. Certificate in Producing, The Library; fellow, German National Scholarship Foundation. New School. Co-founder and director of instruction at The SLC, 1998– International Film Institute of New York, currently working in collaboration with Sarah Lawrence College. Recent Shelley Senter Theatre production credits include a feature-length documentary, Vijay Seshadri Writing (on leave fall semester) Last Call (director and cinematographer), now in post- BA, Oberlin College. MFA, Columbia University. Author of production and producer on the feature-length narrative, Wild Kingdom, The Long Meadow, The Disappearances Central Avenue, scheduled to cast Marisa Tomei and (New and Selected Poems; Harper Collins India), 3 Lorraine Bracco. A book-in-progress on cinematography Sections (September, 2013), and That Was Now, This Is lighting techniques is titled Lighting Tricks and ShortCuts. Then (October, 2020); poetry editor at The Paris Review; Staff member, faculty member, and head of the former editor at The New Yorker; essayist and book cinematography concentration at Columbia University’s reviewer in The New Yorker, The New York Times Book Graduate Film Division, where he supervises students on Review, The Threepenny Review, The American Scholar, thesis productions. Past work includes four one-hour and various literary quarterlies. Recipient of the 2014 specials on Latinos in the media for network television, Pulitzer Prize for Poetry, James Laughlin Prize of the short documentary projects, films, music videos, and Academy of American Poets, MacDowell Colony’s industrials. SLC, 2009– Fellowship for Distinguished Poetic Achievement, The Kristin Zahra Sands Frieda Wildy Riggs Chair in Religious Paris Review’s Bernard F. Conners Long Poem Prize; grants Studies—Religion from New York Foundation for the Arts, National BA, The New School. MA, PhD, New York University. Endowment for the Arts, John Simon Guggenheim Special interests include Sufism, Qur’anic exegesis, Memorial Foundation; and area studies fellowships from religion and media, and political theology. Author of Sufi Columbia University. SLC, 1998– Commentaries on the Qur’an in Classical Islam and Gemma Sharpe Art History numerous articles on mystical exegesis. Translator of BA, University of Nottingham. MFA, Goldsmiths, University Abu’l-Qasim al-Qushayri’s Subtle Allusions (Part I) for The of London. PhD, The Graduate Center, City University of Great Commentaries on the Holy Qur’an Project. SLC, New York. Specializing in modern and contemporary art 2003– from South Asia, Cold War histories of art, museum and Nyoman Saptanyana Music exhibition studies. Current projects examine modernism in Pakistan and Bangladesh, the work of Iqbal Geoffrey Barbara Schecter Director, Graduate Program in Child (b.1939), and realism in postcolonial modernisms. Development/Psychology—Psychology, Child Recipient of fellowships from the Asian Cultural Council, Development American Institute of Pakistan Studies, Modernist Studies BA, Sarah Lawrence College. MA, PhD, Teachers College, Association, and Paul Mellon Center for the Study of Columbia University. Developmental psychologist with British Art. SLC, 2021– special interests in cultural psychology, developmental theories, and language development; author and William Shullenberger Literature (on leave spring researcher on cultural issues in development and semester) metaphoric thinking in children. SLC, 1985– BA, Yale University. MA, PhD, University of Massachusetts. Special interests in Milton, 17th-century English literature, Carsten Schmidt Music English Romanticism, African literature, theology and Künstlerische Abschlussprüfung “mit Auszeichnung,” poetics, and psychoanalytic criticism. Author of Lady in Folkwang University, Germany. MM, Artist Diploma, the Labyrinth: Milton’s ‘Comus’ as Initiation; co-author Indiana University. MMA, DMA, Yale University. Extensive with Bonnie Shullenberger of Africa Time: Two Scholars’ performance and broadcast activities as soloist, Seasons in Uganda; essays published in Milton Studies, conductor, chamber musician, and soloist with orchestras Renaissance Drama, and other journals and collections. throughout Europe, North America, and Japan; repertoire Senior Fulbright lecturer at Makerere University, Uganda, ranging from the Renaissance to the music of today, 1992-1994; director of NEH Summer Seminars on the including more than 100 premieres and numerous master classical and the modern epic, 1996 and 1999. SLC, 1982– classes, lectures, and workshops at educational and research institutions. Special interests include: keyboard Mark R. Shulman History literature and performance practices, early keyboard BA, Yale University. MSt, Oxford University. PhD, instruments, and the interaction of poetry and music in University of California–Berkeley. JD, Columbia University. song repertoire. Since 1998, artistic director, Staunton Served as editor-in-chief of the Journal of Transnational Music Festival; former artistic director, International Law at Columbia and received the Berger Prize for FACULTY 223 international law. Served as associate dean for global Worth, Texas, designed sets and puppets for a multitude of admissions at New York University and assistant dean for productions over the years, presented seven collaborative Graduate Programs & International Affairs at Pace Law theatre pieces, performed in more than 30 world School. Created and directed the Worldwide Security premieres, and launched its Cowtown Puppetry Festival. Program at the EastWest Institute and practiced law at Puppet/mask designer for New York Shakespeare Festival, Debevoise & Plimpton. A long-time leader of the Signature Theatre Company, My Brightest Diamond, Association of the Bar of the City of New York, he currently Division 13, Kristin Marting, Doug Elkins, Cori Orlinghouse, chairs the Committee on Asian Affairs and serves on the Daniel Rigazzi, and various universities; puppetry Council on International Affairs and the Task Force on associate for War Horse on Broadway. Awarded a variety National Security and the Rule of Law. He previously of grants and awards for theatre work. SLC, 2012– chaired the City Bar’s Committee on International Human Rights and the Council on International Affairs. He has Kanwal Singh Provost and Dean of Faculty—Physics taught the laws of war at Columbia Law School; military BS, University of Maryland–College Park. MA, PhD, history at Yale, the Air War College, and Columbia (SIPA); University of California–Berkeley. Postdoctoral research and human rights at Sarah Lawrence and Hunter colleges. associate, University of Oslo, Norway. Special interests in He has published widely in the fields of history, law, and low-temperature physics, science education and international affairs. His books include The Laws of War: education policy, and scientific and quantitative literacy. Constraints on Warfare in Western Author of articles in theoretical condensed-matter physics World (1994), Navalism and the Emergence of American (models of superfluid systems) and physics teaching. Sea Power (1995), An Admiral’s Yarn (1999), and The Taught at Middlebury College, Wellesley College, and Imperial Presidency and the Consequences of 9/11 (2007). Eugene Lang College at The New School University. SLC, His articles have appeared in the Columbia Journal of 2003– Transnational Law, Journal of National Security & David Sivesind Psychology Policy, Fordham Law Review, Journal of Military History, BA, University of Northern Iowa. Addiction Studies Intelligence and National Security, and The New York Graduate Certificate, University of Minnesota. MA, PhD, Times, among others. SLC, 2009– New School for Social Research. Assistant professor of Scott Shushan Philosophy psychology, Mount Sinai School of Medicine. Clinical BA, Loyola University, New Orleans. PhD, New School for psychologist with special interests in addiction, HIV Social Research. Interests in aesthetics, moral psychology, treatment, chronic health condition identity adjustment, and the history of ethics. Writes on those matters, with a LGBT issues, and integrated psychology practice in health- focus on Plato, Aristotle, Hegel, and Wittgenstein, as well care settings. SLC, 2013– as contemporary philosophers. Has taught at Eugene Lang Lyde Cullen Sizer Margot C. Bogert Distinguished Service College and Fordham University and also presently Chair—History teaches at Pratt Institute. SLC, 2019– BA, Yale University. MA, PhD, Brown University. Special Michael Siff Computer Science interests include the political work of literature, especially BA, BSE., MSE, University of Pennsylvania. PhD, University around questions of gender and race; US cultural and of Wisconsin-Madison. Special interests in programming intellectual history of the 19th and early 20th centuries; languages, cryptology, and software engineering; author of and the social and cultural history of the US Civil War. research papers on interplay between type theory and Authored The Political Work of Northern Women Writers software engineering. SLC, 1999– and the American Civil War, 1850-1872, which won the Avery O. Craven Award from the Organization of American Lake Simons Theatre Historians. The Civil War Era: An Anthology of Sources, BFA, University of North Carolina School of the Arts. École edited with Jim Cullen, was published in 2005; book Jacques Lecoq, Paris. Theatre work includes designing chapters are included in Love, Sex, Race: Crossing sets, puppets, and costumes and directing, Boundaries in North American History; Divided Houses: choreographing, and performing. Drawn to incorporating Gender and the American Civil War; and A Search for puppetry, movement, and live music into the theatre, Equity. SLC, 1994– shows are frequently made from the ground up. Work seen in many New York theatres, including HERE Theatre, La Jacob Slichter Writing Mama E.S.T., P.S. 122, St. Mark’s Church, Dixon Place, and BA, Harvard College. Author of So You Wanna Be a Rock & One Arm Red. Past collaborative work includes Electric Roll Star (Broadway Books, 2004) and the drummer for Bathing, Wind Set-up, White Elephant, Alice’s Adventures the band Semisonic. He has written for The New York in Wonderland, What’s Inside the Egg?, How I Fixed My Times, has been a commentator for NPR’s Morning Edition, Engine With Rose Water, and Etiquette Unraveled. As an artistic associate with the Hip Pocket Theatre in Fort 224 Faculty and he blogs about connections between music, writing, theatre and opera, Starbuck employs a mixture of and other art forms at portablephilosophy.com. SLC, documentary and reflexive film styles in her work. By 2013– working in a nontraditional form, she strives to create a cinematic space in which the world is perceived rather Fredric Smoler Literature than known. In response to her work, viewers are invited to BA, Sarah Lawrence College. MA, MPhil, PhD, Columbia interact with what they see on the screen and to create University. Central interest in European history and meaning by reflecting on their own experiences, ideas, and culture, with special emphasis on military history and truths. She has exhibited works at the Boston Center for literature. Writes regularly for First of the Month and the Arts, The Walker’s Point Art Center, Milan Dissent; occasional contributor to The Nation, The Biennale, Indie Open in New York City, Anthology Film Observer (London); former editor, Audacity; contributing Archives, Deluge Contemporary Art & Antimatter, editor, American Heritage Magazine. SLC, 1987– Collected Voices Chicago, XVI Cine Pobre Cuba, the Madrid Film Festival, the Ethnograpfia Film Festival in Kishauna Soljour History Paris, The Stockholm Experimental and Animation Film BA, MA, MPhil, PhD, Syracuse University. Special interest festival, and other festivals, art centers, and galleries in in the history of the modern African diaspora in the West, the United States, Europe, and Asia. Most recently, her oral history, NGO and nonprofit management, and film, How We See Water, was nominated for four transnational history, as well as the history of social international documentary awards at the X Short Film movements and race. Author of Beyond the Banlieue: Festival in Rome. Starbuck is currently an active member French Postcolonial Migration & the Politics of a Sub- of the Women in Animation Association. She is a professor Saharan Identity, manuscript awarded The Council of of Experimental film and Animation and the current Chair Graduate Schools/ProQuest Distinguished Dissertation of Filmmaking & Moving Image Arts. SLC, 2003– Award in Humanities and Fine Arts. SLC, 2020– Joel Sternfeld The Noble Foundation Chair in Art and George Southcombe Director, Sarah Lawrence Program Cultural History—Visual and Studio Arts at Wadham, Oxford—History, Literature BA, Dartmouth College. Photographer/artist with BA, MA, DPhil, University of Oxford. Fellow of the Royal exhibitions at Museum of Modern Art, Art Institute of Historical Society. Special interests in nonconformist Chicago, and San Francisco Museum of Modern Art. religion, early modern literature, Restoration England, Recipient of two Guggenheim fellowships and a Prix de satire and laughter. Author of, among other works, The Rome. Author of American Prospects, On This Culture of Dissent in Restoration England: The Wonders of Site, Stranger Passing, and 10 other books. SLC, 1985– the Lord; co-author of Restoration Politics Religion and Culture: Britain and Ireland, 1660-1714; editor of English Stew Stewart Theatre Nonconformist Poetry, 1660-1700. SLC, 2014– Frederick Michael Strype Filmmaking and Moving Image Stuart Spencer Theatre Arts (on leave yearlong) BA, Lawrence University (Appleton, Wisconsin). MFA, BA, Fairfield University. MFA, Columbia University School Sarah Lawrence College. Author of numerous plays of the Arts. Postgraduate study: American Film Institute, performed in New York and around the country, including New York University Tisch School of the Arts. Resident Alien (Broadway Play Publishing). Other plays Screenwriter, producer, director. Recent awards, grants, include In the Western Garden (Broadway Play festivals: Grand Prize, Nantucket Film Festival, Tony Cox Publishing), Blue Stars (Best American Short Plays of Award in Screenwriting; Nantucket Screenwriters Colony; 1993-94), and Sudden Devotion (Broadway Play World Jewish Film Festival, Askelon, Israel; Tehran Publishing). A playwriting textbook, The Playwright’s International Film Festival; Berlin Film Festival Shorts; Guidebook, was published by Farrar, Straus and Giroux in Uppsala Sweden Film Festival; USA Film Festival; 2002. Recent plays are Alabaster City, commissioned by Washington (DC) Jewish Film Festival; Los Angeles South Coast Rep, and Judy Garland Died for Your Sins. International Children’s Film Festival; Temecula Valley Former literary manager of Ensemble Studio Theatre; International Film Festival “Best of the Fest”; Portugal Film fellow, the Edward Albee Foundation; member, Dramatist Festival Press Award; Fade In Magazine Award/Best Short Guild. SLC, 1991– Screenplay; Angelus Film Festival Triumph Award; Austin Film Festival Screenwriting Award; Heartland Film Festival Robin Starbuck Filmmaking and Moving Image Arts Crystal Heart Award; New Line Cinema Filmmaker BA, Salem College (North Carolina). MFA, School of the Development Award; Hamptons International Film Art Institute of Chicago. Post-Graduate Certificate, New Festival; Schomburg Cultural Grants. Raindance Pictures: York University Tisch School of the Arts. An award- projects developed for Columbia/Tristar/Sony, Lifetime, winning filmmaker and artist who produces experimental nonfiction films, installations, and animated media for FACULTY 225 MTM Productions, Family Channel, FX, Alliance/ Atlantis, urban areas creates spaces of belonging and Capella Films, Turman-Foster Productions, James Manos nonbelonging. Recently presented research on the French Productions, FX, Avenue Pictures. SLC, 2003– antiveiling laws and the reinterpretation of public and private spaces, the Parisian public transportation system Rachelle Sussman Rumph Associate Dean of and its role in structuring geographic and social mobility, Studies—History and the Parisian botanical gardens as an agent and symbol MA, Sarah Lawrence College. PhD, New York University. of national identity. SLC, 2015– Rumph’s research and teaching interests include visual culture theory, media history, critical race theory, and Clifford Thompson Writing gender studies. For many years, she taught media and BA, Oberlin College. author of What It Is: Race, Family, and communication studies courses at New York University One Thinking Black Man’s Blues (2019), which was and worked with students as an administrator in the areas selected by Time magazine as one of the “Most of academic advisement and student support. She is Anticipated Books” of the season. Thompson received a currently a guest faculty member in the Women’s History Whiting Writers’ Award for nonfiction in 2013 for Love for program and an Associate Dean of Studies at SLC. Sale and Other Essays, published by Autumn House Press, which also brought out his memoir, Twin of Blackness Sterling Swann Theatre (2015). His personal essays and writings on books, film, BA, Vassar College. Postgraduate training at London jazz, and American identity have appeared in publications Academy of Music and Dramatic Art (LAMDA), at Sonia including The Best American Essays 2018, The Washington Moore Studio, and with David Kaplan (author, Five Post, The Wall Street Journal, The Village Voice, The Times Approaches to Acting). President and artistic director, Literary Supplement, The Threepenny Review, Cygnet Productions, National Equity Theatre for Young Commonweal, Cineaste, and The Los Angeles Review of Audiences Company; leading performer, Boston Books. He is the author of a novel, Signifying Nothing. For Shakespeare Company; guest faculty at Storm King over a dozen years Thompson served as the editor of School, Western Connecticut State University, and at Current Biography. He is the writer and illustrator of the Vassar College; certified instructor, Society of American graphic novel Big Man and the Little Men, due from Other Fight Directors (SAFD); winner of the Society of American Press in Fall 2022. SLC, 2016– Fight Directors’ 2006 Patrick Craen award; designated practitioner, Stough Institute of Breathing Coordination; Melisa Tien Theatre certified teacher, Alexander Technique. SLC, 1991– BA, University of California–Los Angeles. MFA, Columbia University. Diploma, French Culinary Institute. A New York- Philip Swoboda History based playwright, lyricist, and librettist, Tien is the author BA, Wesleyan University. MA, MPhil, PhD, Columbia of the plays Untitled Landscape, The Boyd Show, Best Life, University. Special interest in the religious and intellectual Yellow Card Red Card, Familium Vulgare, and Refrain. history of early modern Europe and in the history of Mary, her musical co-written with composer Matt Frey, will Eastern Europe, particularly Russia and Poland. Author of have a workshop at New Dramatists in fall 2019. Her play articles on early 20th-century Russian philosophy and Best Life was selected to participate in the 2018 Bushwick religious thought; served on the executive committee of Starr Reading Series and will be part of JACK’s inaugural the Mid-Atlantic Slavic Conference. Previously taught at season in its new space in Brooklyn. Her play Yellow Card Columbia University, Hunter College, Lafayette College, Red Card was presented as part of the Ice Factory Festival University of Wisconsin–Madison. SLC, 2004– in 2017 at the New Ohio Theatre and had a workshop production at the American Academy of Dramatic Arts in Mia Theodoratus Music (Celtic Harp) 2016. In addition to being a resident playwright at New BFA, University of Texas–Austin. MFA, California Institute Dramatists, she is a New York Foundation for the Arts of the Arts. Teacher, Irish Arts Center; president, Metro fellow in playwriting/screenwriting, a Walter E. Dakin Harp Chapter of the American Harp Society; founder, NYC fellow at the Sewanee Writers’ Conference, and a recipient Harp Orchestra. Performed at Lincoln Center Outdoors, of the Theater Masters Visionary Playwright Award. She Congressional Building by invitation of President Obama, has been a resident of the MacDowell Colony and the Irish Arts Center (NY), and Carnegie Hall. SLC, 2017– Millay Colony and was a member of the 2010-2012 Nadeen M. Thomas History, Women's History Women’s Project Lab. She has presented work at the Great BA, University of Pennsylvania. MSEd, Hunter College, Plains Theatre Conference, the Women Playwrights CUNY. PhD, CUNY Graduate Center. Research interests International Conference, and the National Asian include immigration, race, ethnicity, education systems, American Theatre Conference and Festival. SLC, 2019– and nationalism in the United States and Europe. Also Cecilia Phillips Toro Biology interested in the relationship between the built BA, Reed College (Portland, Oregon). PhD, Brown environment and social organization and how the layout of University. Postdoctoral Fellow, Oregon Hearing Research 226 Faculty Center and Vollum Institute, Oregon Health & Science humor….” In 2011, she launched a song-and-dance University. Neurobiologist with a special interest in collaboration with her husband, Jon Velez-Jackson, called sensory hair cell function. Author of papers on dopamine Yackez, “The World's Most Loveable Musical Duo." Velez- in the zebrafish lateral line, voltage-gated calcium Jackson is also the artistic director of the LVJ channels, and synaptic physiology. Recipient of grants Performance Co. Her works have been performed widely in from the National Institutes of Health. Previously taught at New York City, including at The Bushwick Starr, The Linfield College. SLC, 2018– Chocolate Factory, Roulette, Museum of Art and Design, Danspace Project, New Museum, American Realness Alice Truax Writing Festival at Abrons Arts Center, and Martin E Segal Theatre. BA, Vassar College. MA, Middlebury College. Editor at The In May 2014, LVJ performed an exciting mobile outdoor New Yorker, 1992-2002; book editor, 2001-present. Book work, S.P.E.D. THE BX, with the support of Bronx nonprofit reviews have appeared in The New York Times Book Pepatían and Casita Maria Center for Arts and Education. Review, The New Yorker, Vogue, and The New York Review S.P.E.D. THE BX was a durational, site-speciific work that of Books. Edited books include Random Family by Adrian culminated for an audience of 70 children and BRONXNET Nicole LeBlanc, Mostly True by Molly O’Neill, Aftermath by cable television. Later in 2014, LVJ premiered “Star Crap Joel Meyerowitz, The Surrender by Toni Bentley, Send by Method” at Chocolate Factory Theatre. The piece was the William Schwalbe and David Shipley, King’s Gambit by culmination of three years of studio and stage research in Paul Hoffman, and Violent Partners by Linda Mills. SLC, LVJ’s improvisational performance practices for a cast of 2004– four people. The piece also featured lighting designer Kathy Kaufmann, who improvised the lighting design anew Neelam Vaswani Theatre for each performance. Talya Epstein, a member of the cast, Originally from Atlanta, GA, Vaswani spent the last 18 was nominated for a 2015 New York Dance and years working as a production stage manager and Performance “Bessie” award for her performance in “Star production manager in New York City. She currently serves Crap Method.” SLC, 2020– as the director of production at Sarah Lawrence College. In her freelance career, she has worked on a wide range of Ximena Venturini Spanish shows, including Mabou Mine’s Peter and Wendy and BA, MA, MA, Universidad Complutense de Madrid, Spain. Mine’s Song for New York by the late Ruth Maleczech. She PhD, Tulane University. Venturini’s scholarship unveils has stage-managed the majority of Basil Twist’s representations of subaltern spaces, identities, and repertoire, including, Arias With A Twist, Master Peter’s sexualities in Argentina and Spain in the 21st century in a Puppet Show, Petrushka, Dogugaeshi, La Bella Dormente way that makes their theoretical contributions more nel Bosco, and Sister’s Follies. Other credits include The accessible. More specifically, her scholarship reveals the Adventures of Charcoal Boy, Wind Set-up, Don Cristobal, importance of those spaces as spaces of resistance, and Wind-up Bird Chronicle, which was presented at the memory, and an alternative option to contemporary International Edinburgh Festival and the Singapore Arts neoliberal capitalist systems. Her research examined a Festival. Vaswani’s work in the theatre has brought her all corpus of texts and films in which the representation of over the United States, as well as overseas to France, urban spaces produces a marginal cultural identity. Stockholm, Edinburgh and Singapore. Currently, she is Venturini has received fellowships from the Università also a member of the Alphabet Arts collective, whose della Calabria (Italy) and the Freie Universität Berlin focus is to continue arts education through poetry and (Germany) and was a visiting researcher at the puppetry—specifically to underprivileged communities. Universidad Complutense de Madrid (Spain). She is a And when not working in a dark theatre, she is the project collaborating member of the research group “Happiness in manager for Emdee International, a textile company where History: From Rome to Our Days. Discourse Analysis,” she designs, builds, and does all the visual merchandising where she analyzes the relationship between happiness for six annual trade shows. SLC, 2016– and childhood in contemporary Latin American and Spanish literature and visual culture. This group was Larissa Velez-Jackson Theatre developed within the scope of the Institute of Medieval, A choreographer and hybrid artist who uses improvisation Renaissance, and Digital Humanities Studies (IEMYRhd) as a main tool for research and creation, focusing on of the University of Salamanca, Spain. SLC, 2021– personhood and the dancing/sound-making body, Velez- Jackson employs a deep humor to grant audiences Giancarlo Vulcano Filmmaking and Moving Image Arts, universal access to contemporary art’s critical discourse. Music Of her 2010, critically-acclaimed show at Danspace BA, Sarah Lawrence College. MA, Queens College. Project, The New York Times said, “Ms. Velez-Jackson Composer for the following: Briarpatch (2020), network demonstrates her own formidable presence as she bursts anthology series, starring Rosario Dawson, Alan Cumming, into the space…A choreographer who is not afraid of being and Jay Ferguson; Modern Persuasion (2019), (or showing) ugly onstage, she disarms her audiences with FACULTY 227 independent feature; State of Stress with Sanjay Gupta Bri Weintraub Theatre (2018-2019), documentary for HBO; Unbreakable Kimmy Bri Weintraub is the Production Manager/Lighting Schmidt, Netflix series; Great News (2016-2018), NBC Supervisor for the Sarah Lawrence College Theatre series created by Tracey Wigfield (2014-2018); Getting Program. She has an MFA in Technical Production and a Naked: A Burlesque Story (2017), feature-length BA in Theatre, both from Florida State University. Prior to documentary by James Lester; 30 Rock (2007-13), NBC joining the SLC team, Bri worked across the east coast at series created by Tina Fey, starring Tina Fey, Tracy Morgan, multiple summer stock theatres, many concerts and Alec Baldwin, and Jane Krakowski; Keith Broke His Leg events, and was most recently full time as the Lighting (2015-present), web series by Keith Powell; Unfinished Supervisor at Florida State University. Spaces (2012), feature-length documentary by Alysa Nahmias and Ben Murray; Reise nach Tulum (2011), Sonia Werner Literature feature film by Eduardo Villanueva; What’s the Harm? PhD, New York University. Interests include comparative (2010), short film by Steve Reese; Under the Cover of literature; world literature, philosophy and critical theory, Darkness: The Work of Michael Flomen (2009), feature- aesthetics and politics, realism and representation, length documentary by André Cornellier; Love and Roadkill nationalism and internationalism, theories and practices (2008), short film by John David Allen; and Red Angel of performance, the global 19th century; and the novel. (2007), short film by Matthew Ross. Orchestrator for Les Werner is a visiting assistant professor at New York Traducteurs (2018), French feature film directed by Regis University’s master’s program in experimental humanities Roinsard, score by Jun Miyake. Orchestra score supervisor and social engagement and also teaches at the Gallatin for Gangs of New York (2002), feature film starring School of Individualized Study. Her current book project, Leonardo DiCaprio, Cameron Diaz, and Daniel Day-Lewis Fringe Realisms: Belated Nations and the Invention of a and directed by Martin Scorcese. Score producer for Baby Useable Present, examines realism’s relationship to nation Mama (2008), feature film produced by Universal, formation in regions characterized by national and starring Tina Fey and Amy Poehler. Score production for industrial belatedness. Her research has been published The Aviator (2004), feature film starring Leonardo in Novel: A Forum on Fiction and is forthcoming DiCaprio, Cate Blanchett, and Kate Beckinsale and in Diacritics. SLC, 2019- directed by Martin Scorcese. Music score coordinator for Megan Williams Dance The Departed (2006), feature film starring Jack BFA, The Julliard School. MFA, Sarah Lawrence College. Nicholson, Leonardo DiCaprio, Matt Damon, Alec Baldwin, An independent dance artist, choreographer, teacher and and Martin Sheen and directed by Martin Scorcese. Music repetiteur, Williams guest-taught in a variety of settings in preparation for the following: A History of Violence 2020-21, choreographed two films for the Young People’s (2005), feature film starring Viggo Mortensen, Maria Chorus of New York City, and made two commissioned Bello, and Ed Harris and directed by David Cronenberg; dance films for the Katonah (NY) Museum of Art, where and The Lord of the Rings (2000-02), feature film trilogy she recently premiered a new site-adaptive work, “Beauty directed by Peter Jackson; Saturday Night Live Persists.” Her choreography has been produced by 92nd St (2000-08)...among others. SLC, 2022– Y, DanceNOW NYC at Joe’s Pub and Dance Theater Ilja Wachs Ilja Wachs Chair in Outstanding Teaching and Workshop, 10Hairy Legs, as well as by the Rivertown Donning—Literature (on leave fall semester) Artist’s Workshop, Barnspace, MIXT Co., Purchase College, BA, Columbia College. Special interest in 19th-century Marymount Manhattan College, Connecticut College, and European and English fiction, with emphasis on Interlochen Arts Academy. In addition to performing her psychological and sociological relationships as revealed in own work, Williams was recently dancing with works of Dickens, Tolstoy, Dostoevski, Balzac, Stendhal, choreographer Rebecca Stenn and in Netta Yurashalmy’s James, Flaubert, and others. Dean of the College, Paramodernities project. In the early ’80s, Williams 1980-85. SLC, 1965– performed and toured internationally with the companies of Laura Glenn, Ohad Naharin, and Mark Haim; and in Alma Watkins Dance/Movement Therapy 1988, she joined the Mark Morris Dance Group—dancing BA, Morgan State University. EdM, MA, Columbia for 10 years, touring worldwide, teaching, and appearing in University–Teachers College. Licensed mental health several films, including Falling Down Stairs (with YoYo counselor; studied many forms of dance—including tap, Ma), The Hidden Soul of Harmony, The Hard Nut, and Dido ballet, jazz, contemporary, and African—and has almost and Aeneas. She continues her affiliation with Morris as a 20 years of clinical experience working with various guest performer (creating the role of Lady Capulet in populations, including survivors of domestic violence and Morris's 2009 Romeo and Juliet: On Motifs of sexual assault, substance abuse, and children in foster Shakespeare), guest rehearsal director, and content care and their families. SLC, 2016– specialist in the MMDG archives. Williams has staged Morris's work on the Purchase Dance Company, Vassar Seth Watter Film History 228 Faculty Repertory Company, Fieldston Dance Company, the Matthew Wilson Music (Percussion) Boston Ballet, and the Pittsburgh Ballet Theater and on New York-based drummer, Grammy nominee, celebrated students at The Juilliard School, George Mason University, jazz artist universally recognized for his musical and Les Étés de la Danse (Paris), among many others. Williams melodic drumming style, as well as being a gifted has been Morris’s assistant in a variety of settings, composer, bandleader, producer, and teaching artist. including ballet, Broadway, and television. From Performed at the White House as part of an all-star jazz 2000-2013, she served on the modern dance faculty of group for a state dinner concert hosted by President the Conservatory of Dance at Purchase College, SUNY, and Obama. Featured on the covers of Downbeat and was a guest lecturer at Connecticut College from JazzTimes magazines in November 2009. Voted #1 Rising 2016-2018 and at Hunter College and Marymount Star Drummer in the Downbeat Critic’s Poll. Committed to Manhattan College in 2018-2019. She has taught Dance jazz education, he travels the world with the Matt Wilson for Parkinson’s Disease in Rye, NY, since 2011 and is on the Quartet to inspire children. SLC, 2017– renowned Dance for PD flagship teaching team. She taught professional-level ballet at the Gibney Dance Heather Winters Filmmaking and Moving Image Arts Center for the last four years and is currently teaching BA, Sarah Lawrence College. University of London, School ballet at Sarah Lawrence College and a yoga-based of Visual Arts. An American film producer, director, and somatic practice at Purchase College and at Tovami writer and a two-time Sundance winning executive Studio. Williams founded Megan Williams Dance Projects producer. Credits include: Oscar-nominated Super Size (MWDP) in the summer of 2016. MWDP was a DANCE Me; TWO: The Story of Roman & Nyro; The Rest I Make Up NOW Commissioned Artist in 2018, premiering Williams’s (Best Movies of 2018, The New Yorker), Anywhere, u.s.a.; first full evening work, “One Woman Show,” to great Class Act; Convention; Google Me; ThunderCats; acclaim at Joe’s Pub at the Public Theater in NYC. In Silverhawks; The Comic Strip; MTV’s Real World. Select September 2018, MWDP performed a work-in-progress at project awards include: Academy Award nomination, Best the 92nd St Y Fridays at Noon series in a shared bill with Documentary; winner, Best Director, Documentary, Molissa Fenley and Claire Porter. MWDP performed an Sundance Film Festival; winner, Special Jury Prize, encore of “One Woman Show” in January 2019 at Joe’s Dramatic Competition, Sundance Film Festival; winner, Pub and took it on the road in April 2019. MWDP was part Audience Choice Award, Best Documentary Feature, of the Dance Off the Grid series ta the Emelin Theater in Nashville Film Festival; winner, HBO Hometown Hero Mamaroneck, NY, in May 2019. Williams was an Artistic Award, Miami Gay and Lesbian Film Festival; nominee, Partnership Initiative (API) Fellow at The Center for Ballet Audience Award, Best Documentary, Palm Springs and the Arts at New York University in August/September International Film Festival; winner, Audience Award, Best 2019. MWDP’s evening-length work, in collaboration with Documentary, Frameline Film Festival; winner, AARP Silver composer Eve Beglarian at Danspace Project, NYC, was Image Award, Reeling Film Festival; winner, Jury Award scheduled for a March 2020 debut but is being Best Documentary, OUTshine Film Festival; winner, Jury rescheduled due to the COVID-19 pandemic. SLC, 2019– Award Best Documentary Feature, Reeling: Chicago LGBTQ+ International Film Festival; winner, Best Feature, James Wilson Music () Artivist Film Festival; winner, Best Documentary, Rhode BM, University of Michigan. MM, The Peabody Institute of Island International Film Festival; TELLY® Award; Platinum The Johns Hopkins University. Recitalist and chamber Best in Show, Aurora Award; first place, Chicago musician, member of the Orpheus Chamber Orchestra; International Film Festival; Creative Excellence Award, U.S. appeared at Lincoln Center, Carnegie Hall, Kennedy International Film and Video Festival. Professional Center, Musikverein in Vienna, Koelner Philharmonie, awards/affiliations include: Sarah Lawrence College National Concert Hall in Taipei, and Sydney Opera House. Alumnae/i Citation for Achievement; Hall of Fame, Miami Performed at the Hong Kong Arts Festival, City of London Beach Senior High School Alumni Association; Producers Festival, Deutches Mozartfest in Bavaria, Kuhmo Chamber Guild of America; International Documentary Association; Music Festival in Finland, Mostly Mozart Festival in New IFP; Women in Film. Founder, White Dock and Studio On York, and Aspen Music Festival in Colorado. Former Hudson production companies. SLC, 2011– member of the Shanghai and Chester String Quartets and the Da Capo Chamber Players. Currently artistic director Komozi Woodard History of the Richmond-based Chamber Music Society of Central BA, Dickinson College. MA, PhD, University of Virginia. Teaches cello and chamber music at Columbia Pennsylvania. Special interests in African American University in New York City and faculty member of the history, politics, and culture, emphasizing the Black Bennington Chamber Music Conference in Vermont. SLC, Freedom Movement, women in the Black Revolt, US urban 2017– and ethnic history, public policy and persistent poverty, oral history, and the experience of anti-colonial Marion Wilson Visual and Studio Arts movements. Author of A Nation Within a Nation: Amiri FACULTY 229 Baraka and Black Power Politics and reviews, chapters, Up Shakespeare, directed by Oscar and Tony award winner and essays in journals, anthologies, and encyclopedia. Mike Nichols, which was recently remounted with Editor, The Black Power Movement, Part I: Amiri Baraka, Steppenwolf Theatre in Chicago with actor Jeff errP y. From Black Arts to Black Radicalism; Freedom North; Young’s orchestral appearances from tenors Cook Dixon & Groundwork; Want to Start a Revolution?; and Women in Young to solo work—both classical and theatre—are the Black Freedom Struggle. Reviewer for American known internationally. His jazz credits include concert Council of Learned Societies; adviser to the Algebra work with legends such as Tito Puente, Clark Terry, Nancy Project and the PBS documentaries, Eyes on the Prize II Wilson, J. D. Perren, James Carter, Julius Hemphill, Mike and America’s War on Poverty; board of directors, Urban Renzi, Michael Wolff, and Grady Tate. In addition to his History Association. SLC, 1989– work at SLC, Young is in demand internationally as a clinician and master class specialist. His discography is John Yannelli Director, Program in Music and Music extensive. SLC, 1989– Technology; William Schuman Scholar in Music—Music (on leave spring semester) Kate Zambreno Strachan Donnelley Chair in BPh, Thomas Jefferson College, University of Michigan. Environmental Writing—Writing MFA, Sarah Lawrence College. Composer, innovator in the Author of the novels O Fallen Angel (Harper Perennial), fields of electronic music and music for theatre and dance, Green Girl (Harper Perennial), and Drifts (Riverhead composer of traditional and experimental works for all Books). Zambreno is also the author of Heroines media, specialist in improvisational techniques, and (Semiotext(e)’s Active Agents), Book of Mutter director of the Sarah Lawrence Improvisational Ensemble. (Semiotexte(e)’s Native Agents), Appendix Project Toured nationally with the United Stage theatre company (Semiotext(e)’s Native Agents), and Screen Tests (Harper and conceived of, and introduced the use of, electronic Perennial). Forthcoming in May 2021: To Write as if music for the productions. Freelance record producer and Already Dead, a study on Hervé Guibert for Columbia engineer; music published by Soundspell Productions. University Press. She is at work on an essay collection, The SLC, 1984– Missing Person, and a novel, Ghosts. Zambreno also teaches at Columbia University. She is a 2021 Guggenheim Mali Yin Chemistry (on leave spring semester) Fellow in Nonfiction. SLC, 2013– BS, Normal University, China. PhD, Temple University. Postdoctoral research associate, Michigan Francine Zerfas Theatre State University. Researcher and author of articles in BFA, New York University, Tisch School of the Arts. MFA, areas of inorganic, organic, and protein chemistry; special New School University. Teacher of voice and speech at interests in synthesis and structure determination of New York University’s Playwrights Horizons Theater inorganic and organometallic compounds by X-ray School and Atlantic Theater Acting School; adjunct diffraction and various spectroscopic techniques, protein professor at Brooklyn College. Conducted Fitzmaurice crystallography, environmental chemistry, and material Voicework™ and Shakespeare workshops in Melbourne, science. SLC, 1996– Australia (2005), and at the Centro Em Movimento in Lisbon, Portugal (1997, 1998), where she also coached Thomas Young Music (on leave spring semester) Eugene O’Neill’s Mourning Becomes Electra. Served as Cleo & Grammy award-winning lyric tenor—and vocal consultant on 666 Park Avenue TV series and was recognized as the foremost interpreter of tenor roles in vocal coach for The Play What I Wrote (directed by contemporary opera—Young has performed in concert Kenneth Branagh) on Broadway, Me Myself and I by halls, opera houses, and jazz venues in more than 40 Edward Albee (directed by Emily Mann) at Playwrights countries. Known for his peerless versatility, he has been Horizons Theater, and The Family Weekend by Beth Henley seen in operas by Anthony Davis, Tan Dun, John Adams, (directed by Jonathan Demme) for Manhattan Class Schoenberg, Zimmermann, Stravinsky, Shostakovich, Company Theater, as well as Stanley, an Off-Off Broadway Handel, and Rossini—from San Francisco Opera and production (directed by Pulitzer Prize finalist Lisa Chicago Lyric Opera to New York City Opera, Netherlands D’Amour) at HERE Arts Center. Master teacher of Chuck Opera, Opera de Lyon, Maggio Musicale, Opera de la Jones Vocal Production and an associate teacher of Monnale, Covet Garden, Hong Kong Festival, and Bergen Catherine Fitzmaurice Voicework and Level I, Alba International Festival, to name a few. Young has sung Emoting Certification. Studied yoga in New Dehli, India; under the baton of distinguished conductors, including trained extensively in ballet and modern dance and Zubin Mehta, Roger Norrington, Simon Rattle, and Esa- performed with various independent choreographers and Pekka Salonen and with directors Peter Sellars, Pierre dance companies in Minneapolis. Co-founder of Tiny Audi, and David Poutney. His music theatre credits include Mythic Theatre Company in New York City and both an national tours and regional appearances in Jesus Christ actor and a writer for the company. Other past Superstar (Judas), Pippin (Leading Player), Evita (Che), performances include leading roles in A Dream Play by and more. He received critical and public acclaim in Stand 230 Faculty August Stringberg, When We Dead Awaken by Henrick Sherry Zhang Dance Ibsen, Apocrypha by Travis Preston and Royston Sherry Zhang is a certified Tai Chi and Qi Gong instructor Coppenger at the Cucaracha Theatre, Two Small Bodies at by the China Physical Education and Sports Committee, a the Harold Clurman Theatre, The Eagle Has Two Heads at well as a faculty member at the Pacific College of Oriental the Ohio Theatre in Soho, and Democracy in America at the Medicine in NYC, teaching Tai Chi Quan and Qi Gong. A Yale Repertory Theatre and Center Stage. She has native of Hubei (China), she holds a bachelor’s degree in appeared in several films, including Irony, In Shadow City, physical education from Chengdu Physical Education and The Smallest Particle by Ken Feingold and The Institute in Sichuan and was an associate researcher in Madness of the Day by Terrance Grace. As a writer, she has the Chinese Wushu Research Institute in Beijing. Zhang collaborated with both The Private Theatre and Tiny began to acquire an outstanding martial arts background Mythic Theatre, creating original works. SLC, 2013– at the age of 6. She has been a pioneer for China Wushu Association and was selected for the “List of China Wushu Charles Zerner Barbara B. and Bertram J. Cohn Celebrities” an honor the People’s Republic of China Professorship in Environmental bestowed on its top martial arts practitioners in 1998. Studies—Environmental Studies SLC, 2021 BA, Clark University. MArch, University of Oregon. JD, Northeastern University. Areas of specialization: Carol Zoref Director, The Writing Center—Writing landscape studies, environmental arts and humanities, BA, MFA, Sarah Lawrence College. Fiction writer and political ecology, and environmental justice. Recent essayist. Author of Barren Island (University W. Michigan). research focuses on urban and post-industrial landscapes National Book Awards Longlist, winner of AWP of the anthropocene and visions for future interventions in (Associated Writing Programs) Novel Award, National a time of climate change. Field research on an ancient Jewish Book Award, Harold U. Ribalow Award for Fiction. market garden in Istanbul; migrant families’ kitchen Essays and stories in Best of the Bellevue Literary Review, gardens in Kathmandu, and landscapes in Israel and the The New York Times, Global City Review, Christian Science occupied Palestinian territories. Earlier research on fishing Monitor, and on various websites. Recipient of fellowships and agrarian communities of Sulawesi, Indonesia, and grants from Virginia Center for Creative Arts, Hall community-based reef management in Maluku Islands; Farm Center for Arts, and In Our Own Write. Winner of groundwater salinization in west Java; indigenous IOWW Emerging Artist Award and finalist for the Henfield communities and logging concessions, Kalimantan. Award, American Fiction Award, and Pushcart Prize. SLC, Former program director, the Rainforest Alliance. 1996– Contributing author and editor, People, Plants, and Justice: The Politics of Nature Conservation (Columbia Elke Zuern Politics University Press 2000) and Culture and the Question of AB, Colgate University. MA, MPhil, PhD, Columbia Rights: Forests, Coasts, and Seas in Southeast Asia (Duke University. Research interests include social movements University Press 2003). Co-editor of Representing in new democracies, popular responses to poverty and Communities: Politics and Histories of Community-Based inequality, violence in democratization processes, Natural Resource Management (2005) and Making reparations, collective memory, memorials, and Threats: Biofears and Environmental Anxieties (AltaMira reconciliation. Regional specialization: Sub-Saharan Press, 2005). Recent chapters and articles include Africa, with extensive fieldwork in South Africa and “Insurgent Ecologies: Rhetorics of Resistance and Namibia. Author of The Politics of Necessity: Community Affirmation in Yedikule, Istanbul’s Ancient Market Garden” Organizing and Democracy in South Africa (University of (2020), “The Garden of Dreams: Weedy Landscapes in Wisconsin Press, 2011) and co-author of Public Kathmandu,” (2016), “Landscapes in Translation: Characters—The Politics of Reputation and Blame (Oxford Traveling the Occupied Palestinian Territories and Israel University Press, 2020). Former Van Zyl Slabbert Chair at with Raja Shehadeh and David Grossman” (2014), and the University of Cape Town and visiting scholar at the “Honey in the City, Just Food’s Campaign for Legalizing University of Johannesburg. Articles published Beekeeping in New York City” (2012). Director, in Democratization, Comparative Politics, African Affairs, Intersections Colloquium Series: Border Zones in Journal of Modern African Studies, Politique Africaine, Environmental Studies. Residencies at University of Transformation, and African Studies Review, among California–Irvine, Humanities Research Institute, and others. SLC, 2002– Woodrow Wilson International Center for Scholars. Recipient of Fulbright-Hays fellowship for fieldwork in Indonesia, National Endowment for the Humanities, and Social Science Research Council. SLC, 2000–