DOCSLIB.ORG

Book Reviews

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Book Reviews Hawwa 3,2_f5-f8_267-279 7/26/05 1:45 PM Page 267 BOOK REVIEWS MAJAJ, Lisa Suhair, SUNDERMAN, Paula W. and SALIBA, Therese, (eds.), Intersections: Gender, Nation, and Community in Arab Women’s Novels. Gender, Culture, and Politics in the Middle East Series. Syracuse, NY: Syracuse University Press, 2002. Pp. 287 with bibliography and index. Intersections’ primary concern involves the many facets of representation. Most basi- cally, this collection seeks to expand an anglophone audience’s exposure to Arab women writers. Additionally, each of the ten essays, including the historical overview that follows the editors’ introduction, shows a particular concern over how Orientalist discourses have perpetually exoticized and eroticized Arab women and/or over how these women writers engage and challenge such images, as well as images generated within their unique cultural, historical, and geographical realities, in their own writing. In their introduction to the collection of essays on Arab women’s novels, the editors see the book as an example of the “increasing inclusion of and attention to Arab women writers [in the contexts of ] postcolonialism, transnationalism, global feminism, and political resistance” (p. xviii). Further, the editors view the collected essays’ attempts “to establish new points of intersection within transna- tional spaces—between Arab women from different countries, between Arab women and Arab men, between Arab writers and English-speaking readers, between writ- ers and critics, and among literary and historical and political contexts” as their book’s unique contribution to the ongoing conversation (p. xxx). Encompassing women writers from Egypt, Algeria, Palestine, and Lebanon, the collected essays share the objective of introducing contemporary writers to an anglophone audience; that is, the authors discussed write predominantly in French and/or Arabic, and English translations of their works are just now becoming more widely available. After an overview essay by Salma Khadra Jayyusi, enti- tled “Modernist Arab Women Writers: A Historical Overview,” each essay focuses on a single author: Amal Amireh writes on Nawal El Sadaawi; Magda M. Al- Nowaihi on Salwa Bakr; Mary N. Layoun on Andrée Chedid; Barbara Harlow on Sahar Khalifeh; Therese Saliba on Liana Badr; Mona Fayad on Hoda Barakat; Nada Elia on Assia Djebar; Lisa Suhair Majaj on Etel Adnan; and Sabah Ghandour writes on Hanan al-Shaykh. All of these essays provide a considered and well- contextualized argument regarding their authors’ oeuvre. In doing so, many of these essays also mark the limits of contemporary Western literary/critical dis- course. For instance, Elia’s piece on Djebar, “The Fourth Language; Subaltern Expression in Djebar’s Fantasia,” which argues for the existence of a fourth lan- guage beyond the colonizer’s tongue, French, and the patriarchal languages of Arabic and Berber, identifies the colonialist blind spots in écriture feminine. Similarly, Saliba’s essay, “A Country Beyond Reach: Liana Badr’s Writings of the Palestinian Diaspora,” argues that one of the values of Badr’s prose is that it “do[es] not © Koninklijke Brill NV, Leiden, 2005 HAWWA 3, 2 Also available online – www.brill.nl Hawwa 3,2_f5-f8_267-279 7/26/05 1:45 PM Page 268 268 conform neatly to existing literary theories on women, war, and nationalist struggle” insofar as it conjoins feminism and Palestinian (trans)nationalism (p. 138). Three headings organize the book, drawing together three essays in each group (the groupings of three correspond to my list of contributors, excluding the overview): “Gender and Community,” “Narrating the Nation,” and “Embodied Voices and Histories.” These are not hard and fast categorizations, however. Indeed, the edi- tors invite readers to consider other possible organizing principles. Such alterna- tives could include “Women’s Rights as Human Rights,” “Palestinian Partition and Diaspora,” “The Lebanese Civil War,” and “Language and Audience.” Another alternative heading, “Translating Genres,” would be of particular interest to lit- erary scholars looking to integrate Arab women writers in a variety of courses, and, in the balance of this review, I want to trace the possibilities that such a categorization may hold. To the extent that any mention is made of the politics of translation, many of the essays look at the issue of translation quite literally, as they should. They note when texts were translated from their original Arabic or French into English. For instance, Amireh’s essay, “Framing Nawal El Sadaawi: Arab Feminism in a Transnational World,” remarks that the shortening of time between original pub- lication in Arabic and translation into English of El Sadaawi’s work indicates her growing popularity in the English-speaking world (p. 36). Or, as in the case of Majaj’s essay, “Voice, Representation, and Resistance: Etel Adnan’s Sitt Marie Rose,” in which she notes that Adnan has recently started to write in English after building her career writing in French and “painting” in Arabic (p. 209), some of these critics discuss translation as a matter of the language of composition. Elia’s focus on French in Djebar’s writings presents, perhaps, the most extended exam- ination of the politics of translation through an emphasis on bilingualism. This latter sense of translation as a matter of composition fits into the alter- native heading of “Translating Genres” most neatly. Speaking in general terms about whether literature can be a form of resistance, Majaj states, [R]esistance texts use literary forms to expose specific social and political conditions, to suggest alternatives to these conditions, and to elicit respon- sive action from their readers. They provide counter-narratives through which subaltern voices may be heard or represented, and put forward alternative political perspectives. (p. 203) Counter-narratives, then, can encourage the translation of genre, an experimen- tation with form so that it more aptly suits the (counter-)narrative, location, and circumstances of the story being told. Various elements in this essay collection work together to illuminate how contemporary Arab women’s writing makes a practice of genre innovation, thereby “translating” forms as they work with (and through) languages already laden with bias. In the helpful overview essay, Jayyusi discusses four women—Mai Ziyada, Nazira Zeineddin, Durriyya Shafik, and Nazik al-Mala’ika—who have laid the founda- tion in the first half of the twentieth-century for the contemporary authors upon which the rest of the collection focuses. Al-Mala’ika’s career in particular serves as a departure point for the “Translating Genres” category as she, according to Jayyusi, along with Badr Shakir al-Sayyab, “liberated the Arabic poem from its centuries-old mold of the monorhyme and the two-hemistich form” by writing in.
Load more

Recommended publications
  • Brazen (Spring 2011) Hollins University
    Hollins University Hollins Digital Commons Brazen - Gender & Women's Studies Department Gender & Women’s Studies Newsletters Spring 2011 Brazen (Spring 2011) Hollins University Follow this and additional works at: https://digitalcommons.hollins.edu/brazen Part of the Gender and Sexuality Commons, and the Women's Studies Commons Recommended Citation Brazen: Newsletter of the Gender & Women's Studes Department. Roanoke, Virginia, Hollins University. Spring 2011. This Newsletter is brought to you for free and open access by the Gender & Women’s Studies at Hollins Digital Commons. It has been accepted for inclusion in Brazen - Gender & Women's Studies Department Newsletters by an authorized administrator of Hollins Digital Commons. For more information, please contact [email protected], [email protected]. February 21, 2011 Volume IV, Issue 2 bra.zen Contemporary Metaphorical Representations of Arab Femininity by Emily Campbell, ‘12 Note: The following poems were inspired by and informed by various writings and artwork created by contemporary Arab women. Excès du Oiseau Fruit Unafraid femininity, and more- Fall, take the bruises but You can be shapeless, over, I found that these keep them beneath your can flow with the cur- pieces were in dialogue skin—be modest, hued rent, can hide behind with one another Inside this issue: in black and white things less dangerous regarding the same thematic conflicts; these rather than the blues than yourself—things Starting Smart at 2 I identify as and greens of peacocks. which would map you, Hollins Clean yourself, sweep confine you—but you confinement versus the soil from your cage; are a pomegranate, a movement, suppression On Being a Dance Artist 3 you cannot grow any- thing of flesh and color versus subversion, and thing in there (and what and wetness.
    [Show full text]
  • This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
    “This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more.
    [Show full text]
  • Representa Tion of Places in Etel Adnan's in the Heart of the Heart Of
    124 INTERLITT ERA RIA 2020, 25/1: 124–141 ZARIF KEYROUZ Representa tion of Places in Etel Adnan’s In the Heart of the Heart of Another Country and Of Cities & Women (Letters to Fawwaz) LAURE ZARIF KEYROUZ Abstract. This article will take a close look at two books of Etel Adnan which are strongly tied to the representation of places. References to nature found in both books link the places she is physically present in to her inner-spaces. Additionally, the people she encounters in these locations also become elements with which she weaves different places together. In Of Cities & Women (Letters to Fawwaz), the notion of place is particularly enriched by the different qualities of the women she finds in each location, comparing the situation of women in the Orient and the Occident. The shadow of recent wars hangs heavy in the memories of Adnan as she travels between these different places in both books – the thought of which never abandons her. Keywords: places; maps; literature; art; symbols; nature; woman; war Introduction Etel Adnan is one of Lebanon’s most important contemporary writers and a prime example of the intellectual nomadism1 that defines much of Lebanese contemporary literature and art. Her tangled personal journey across several continents have found their way into every aspect of her writing, which docu ments not only her travels but also her emotions and ever-changing perspectives as seen through the lenses of the places and spaces she finds 1 Etel Adnan, a great nomad, has ventured to many places throughout her long life.
    [Show full text]
  • Simone Fattal & Etel Adnan
    122 SIMONE FATTAL INTERVIEW PHOTOGRAPHY BY JINA KHAYYER & BY OSMA HARVILAHTI ETEL ADNAN apartamento - Paris 124 Somewhere here hides the beginning ful. I felt I had been touched by some magic Jina Khayyer in conversation with Etel Adnan wand. In fact, it must have strengthened my and Simone Fattal, two artists who have shared identity to be neither completely a girl nor a their lives and worked beside one another for boy but a special being having, by magic, the more than 40 years. For the first time, Adnan attributes of the two. My singularities were and Fattal give an interview together, discuss- multiplying, which gave me confidence to be- ing what it means to be: an artist, a poet, a lieve in and stand up for myself. I was only painter, a sculptor, a woman, an Arab, a hu- 24 when I moved to Paris on a philosophy man in exile. scholarship. Although I wanted to become an architect, I also believed I was born to write A tree can’t bloom without its root poems. When my mother discouraged me in Etel Adnan was an only child to a Greek mother my desire to become an architect, I pursued and a Syrian father, born in 1925 in Beirut, my other desire. But it wasn’t as easy as it Lebanon. She grew up in the Beirut of the late sounds now. I was torn between the authori- ‘20s, ‘30s, and ‘40s, a vibrant city in the mak- tarian values of my family and the modern ing, where Arabic, French, Greek, Armenian, society that was slowly shaping around me.
    [Show full text]
  • The Many Worlds of Etel Adnan
    The Many Worlds of Etel Adnan Klaudia Ruschkowski The certitude of Space is brought to me by a flight of birds. Etel Adnan tel Adnan is a poet, a philosopher and a painter, the author of essays and of plays, writing across languages, cultures, and continents. Born in Beirut Ein 1925, she describes herself as an “alchemical product.” Her father was a Muslim from Syria, born in Damascus, an officer in the Ottoman military forces, her mother a Greek from Smyrna, in Turkey. At home she lived with two religions, two languages, and two civilizations: the Islamic and the Greek. Her school in Beirut was French, with no reference to the Arab world outside. “Already as a child,” she says, “I had to construct my personality, to build myself up, in order to be something.”1 Her parents were living in a country not their own, and Adnan discovered quickly that they—and she—were somehow “in between.” On the other hand, the cosmopolitan milieu where she grew up made her understand the diversity of people and the world. Around 1950, she wrote her first poems in the French language, Le Livre de la Mer. She adored Charles Baudelaire, Gérard de Nerval, and Arthur Rimbaud. In 1949, when she moved to Paris to study philosophy at the Sorbonne—a leap for a young Lebanese woman—she followed their traces. In 1954, the Algerian War started and Adnan stopped writing in French as a reaction against French colonialism. As in Paris she lived in the Pavillon Americain and met Americans who became friends and supported her.
    [Show full text]
  • Everyday Resistance and Temporary Autonomous Zones in Etel Adnan's
    Journal of the Punjab University Historical Society Volume No. 33, Issue No. 1, January – June 2020 Zainab Nasim Pasha * Amna Umer Cheema** Everyday Resistance and Temporary Autonomous Zones in Etel Adnan’s “To be in a Time of War” Abstract This research paper explores Etel Adnan‟s poem “To be In a Time of War” through Michel de Certeau‟s strategies of everyday resistance within Hakim Bey‟s temporary autonomous zones (T.A.Z). The aim of this paper is to analyze in Adnan‟s poetry the semblances of performative domestic acts of unstructured resistance. As a female exiled in America, Adnan is doubly marginalized. Being part of Cooke‟s „Beirut Decentrist‟ group, Adnan desires to “give survival meaning”.1 In the wake of America declaring a hypocritical war on Iraq, Adnan experiences a relapse that hearkens back to her first-hand experience of the violence of the Lebanese Civil War. Arab women have been acutely aware of this “organized and random” violence, which has infiltrated their daily lives.2 Thus, Adnan opts for resistance that does not revolt against the American government, but rather indulges in subtle acts of retaliation and confrontation within her ordinary life. As Adnan cartographs and untangles the temporal and spatial chaos experienced poles apart from the actual landscape, terrorized by the unleashing of continuous war, she participates in the creation of resistance that subverts expectations. The objective is to trace the transformative, performative, yet tenuous acts of resistance, and the formation of temporary autonomous zones in Adnan‟s poetic space. Keywords: Etel Adnan, Michel de Certeau, Arab World, Feminist Poetry, Hakim Bey, Displacement, Exile, resistance Introduction The Arab poetry has been immensely affected by the historical and political upheavals, such as the Nakba, Lebanese Civil Wars, Iran Iraq War, Invasion of Lebanon, and the Gulf War.
    [Show full text]
  • Feminist Periodicals
    The Un versity o f W scons n System Feminist Periodicals A current listing of contents WOMEN'S STUDIES Volume 21, Number 3, Fall 2001 Published by Phyllis HolmanWeisbard LIBRARIAN Women's Studies Librarian Feminist Periodicals A current listing ofcontents Volume 21, Number 3 Fall 2001 Periodical literature is the cutting edge ofwomen's scholarship, feminist theory, and much ofwomen's culture. Feminist Periodicals: A Current Listing of Contents is published by the Office of the U(liversity of Wisconsin System Women's Studies Librarian on a quarterly basis with the intent of increasing public awareness of feminist periodicals. It is our hope that Feminist Periodicals will serve several purposes: to keep the reader abreast of current topics in feminist literature; to increase readers' familiarity with a wide spectrum offeminist periodicals; and to provide the requisite bibliographic information should a reader wish to subscribe to ajournal or to obtain a particular article at her library or through interlibrary loan. (Users will need to be aware of the limitations of the new copyright law with regard to photocopying of copyrighted materials.) Table ofcontents pages from currentissues ofmajor feministjournals are reproduced in each issue of Feminist Periodicals, preceded by a comprehensive annotated listing of all journals we have selected. As publication schedules vary enormously, not every periodical will have table of contents pages reproduced in each issue of FP. The annotated listing provides the following information on each journal: 1. Year of first pUblication. 2. Frequency of publication. 3. U.S. subscription price(s). 4. Subscription address. 5. Current editor. 6. Editorial address (if different from SUbscription address).
    [Show full text]
  • Cultural Narratives and Alternative Topographies in the Works of Etel Adnan, Ingeborg Bachmann and Sevim Burak
    Cultural Narratives And Alternative Topographies In The Works Of Etel Adnan, Ingeborg Bachmann And Sevim Burak Gizem Okulu SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY ROYAL HOLLOWAY, UNIVERSITY OF LONDON OCTOBER 2020 1 Declaration of Authorship I ………Gizem Okulu……………. hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ____________________Gizem Okulu__ Date: _____________22.10.2020___________ 2 Table of Contents Abstract – 4 Acknowledgements – 5 List of Illustrations - 6 Introduction – 7 Chapter I: ‘Unsettled Dissident Eruptive In Anarchy’: Etel Adnan – 30 Chapter 2: ‘Beneath A Foreign Sky’: Ingeborg Bachmann – 51 Chapter 3: ‘We Are The Dead’: The Work Of Sevim Burak – 80 Conclusion – 112 Manuscript: Master Island - 130 I. Night Poems – 133 II. Exit Point On Earth – 138 III. Master Island – 146 IV. Counter Dance – 165 Bibliography – 189 3 Abstract The thesis explores the use of alternative topographies and cultural narratives in the works of Etel Adnan, Ingeborg Bachmann and Sevim Burak. The term ‘alternative topography’ suggests that these writers do not simply describe existing topographies: rather, they create imaginative spaces, invented countries, which provide spaces from which to challenge the violence present within national boundaries and zones of conflict. ‘Cultural narrative’ suggests the narrative used to define a particular national or ethnic group. While this term has provided useful in reclaiming the identities of marginalized and oppressed groups, it has its limitations. These writers were very aware of the narratives used to describe situations of national and ethnic conflict, witnessing political crises in Lebanon, Turkey, Austria, Germany and America.
    [Show full text]
  • By Ammiel Alcalay of CITIES and WOMEN (Letters to Fawwaz)
    “Our Memory Has No Future” by Ammiel Alcalay OF CITIES AND WOMEN (Letters to Fawwaz). By Etel Adnan. Post-Apollo Press. 114pp. $11. PARIS WHEN IT’S NAKED. By Etel Adnan. Post-Apollo Press. 115pp. $13.50 Although she has lived in American for more than thirty years, the pleasure and power of Etel Adnan’s writing remain the privilege of far too few readers in this country. Born in Beirut to a Syrian Muslim father and a Greek Christian mother, Adnan began, even then, to negotiate what she called the two poles, the two cultures that Beirut and Damascus, the landscape of her childhood, represented. She now writes in English, after having composed in French for many years (she divides her time between California and Paris). At the same time, she is unquestionably an Arab writer. How, then, can one come to an easy definition of Adnan? Is she a Lebanese writer, a French writer, an American writer, a woman writer? Her example also throws into relief the narrowly defined and often exoticized category of Arab women’s writing, a body of literature that American readers are only beginning to familiarize themselves with through the work of better-known writers like Nawal el- Saadawi, Hanan al-Shaykh and Assia Djebar, as well as lesser-known writers like Fadwa Tuqun, Alifa Rifaat, Salwa Bakr and Sahar Khalifeh, among so many others. As always, part of the problem in seeing the larger picture has been availability. Since most American publishers are loath to take even minimal risks in order to introduce new writers in translation, readers are left with only the most schematic vision of foreign literatures and little or no sense of the dense interconnected texture of relationships out of which particular writers emerge.
    [Show full text]
  • Mobility and Identity in the Art and Literature of Etel Adnan
    DVE DOMOVINI • TWO HOMELANDS • 51 • 2020 https://doi.org/10.3986/dd.2020.1.08 MOBILITY AND IDENTITY IN THE ART AND LITERATURE OF ETEL ADNAN Laure ZARIF KEYROUZ| COBISS 1.01 ABSTRACT Mobility and Identity in the Art and Literature of Etel Adnan This article is based on a literary reading of two books by Etel Adnan: In the Heart of the Heart of Another Country and Of Cities & Women (Letters to Fawwaz), and on an interview that the author personally conducted with her in 2018. It examines Adnan’s sense of nomadism in her art and literature. She is born into a nomadic culture and moves as an intellectual nomad from Lebanon to Paris, and then to California, and finally returns to Lebanon before having to escape due to the civil war. Her nomad- ism gives her an inspiring openness, creating a state of béance – the freedom from borders postulated by Bouraoui. KEY WORDS: nomadism, mobility, identity, art, literature IZVLEČEK Mobilnost in identiteta v umetnosti in literaturi Etel Adnan Članek temelji na literarni analizi dveh knjig Etel Adnan, in sicer V srcu srca druge dr- žave (In the Heart of the Heart of Another Country) in Mesta in ženske (Pisma Fawwazu) (Cities&Women, Letters to Fawwaz) ter osebnem intervjuju z umetnico iz leta 2018. Osrednja tema članka je preučevanje vpliva nomadstva v umetnosti in literaturi Etel Adnan. Umetnica izhaja iz nomadske kulture in se je kot intelektualna nomadka iz Li- banona najprej preselila v Pariz, nato v Kalifornijo, ko pa se je končno vrnila v Libanon, je morala državo zaradi državljanske vojne znova zapustiti.
    [Show full text]
  • In and of Etel Adnan's Arab Apocalypse
    Cleveland State University EngagedScholarship@CSU English Faculty Publications English Department Summer 2020 I planted the sun in the middle of the sky like a flag: In and of Etel Adnan’s Arab Apocalypse Hilary Plum Cleveland State University, [email protected] Follow this and additional works at: https://engagedscholarship.csuohio.edu/cleng_facpub Part of the Arabic Studies Commons, French and Francophone Literature Commons, Poetry Commons, and the Reading and Language Commons How does access to this work benefit ou?y Let us know! Publisher's Statement Copyright © 2020 Johns Hopkins University Press. This article first appeared in College Literature 47:3 2020, 498-521. Reprinted with permission by Johns Hopkins University Press. Recommended Citation Plum, Hilary, "I planted the sun in the middle of the sky like a flag: In and of Etel Adnan’s Arab Apocalypse" (2020). English Faculty Publications. 96. https://engagedscholarship.csuohio.edu/cleng_facpub/96 This Article is brought to you for free and open access by the English Department at EngagedScholarship@CSU. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. “I PLANTED THE SUN IN THE MIDDLE OF THE SKY LIKE A FLAG”: IN AND OF ETEL ADNAN’S ARAB APOCALYPSE HILARY PLUM The windows are normally independent of one another, although you may pass back and forth from one view to the other. This absurd interdependence is like a lark at break of day. The person inside a literary creation can be both viewer and insider.
    [Show full text]
  • Ii Table of Contents GENERAL INTRODUCTION to THE
    Table of Contents GENERAL INTRODUCTION TO THE PROGRAM 1.0 EXECUTIVE SUMMARY 1.1 Brief History of the Program ………………………………………..1-2 1.2 Brief Synopsis of Previous Program Review Recommendations……2-5 1.3 Summary of How Program Meets the Standards…………………….6-7 1.4 Summary of Present Program Review Recommendations…………..7-8 2.0 PROFILE OF THE PROGRAMS AND DISCIPLINES 2.1 Overview of the Programs and Disciplines…………………………8-17 2.2 The Programs in the Context of the Academic Unit………………..17-22 HOW PROGRAM MEETS UNIVERSITY WIDE INDICATORS AND STANDARDS 3.0 ADMISSIONS REQUIREMENTS 3.1 Evidence of Prior Academic Success……………………………….22 3.2 Evidence of Competent Writing…………………………………….22 3.3 English Preparation of Non-Native Speakers……………………….23 3.4 Overview of Program Admissions Policy…………………………..23 4.0 PROGRAM REQUIREMENTS 4.1 Number of Course Offerings………………………………………..24 4.2 Frequency of Course Offerings…………………………………….24 4.3 Path to Graduation………………………………………………….24 4.4 Course Distribution on ATC………………………………………..25 4.5 Class Size…………………………………………………………...25 4.6 Number of Graduates……………………………………………….25 4.7 Overview of Program Quality and Sustainability Indicators……….25-26 5.0 FACULTY REQUIREMENTS 5.1 Number of Faculty in Graduate Programs…………………………..26-27 5.2 Number of Faculty per Concentration……………………………....27 6.0 PROGRAM PLANNING AND QUALITY IMPROVEMENT PROCESS…27-29 7.0 THE STUDENT EXPERIENCE 7.1 Student Statistics……………………………………………………29-31 7.2 Assessment of Student Learning……………………………………31-34 7.3 Advising…………………………………………………………….34-35 7.4 Writing Proficiency…………………………………………………35
    [Show full text]