Undergraduate Course Offerings 2019-2020 CALENDAR

FALL 2019

Saturday, August 31 Opening Day

New students arrive

Monday, September 2 Returning students arrive

Monday, October 21 and October Study Days Tuesday, October 22

Wednesday, November Thanksgiving break (begins after last academic 27–Sunday, December 1 appointment on Tuesday)

Friday, December 20 Last day of classes

Saturday, December 21 Residence halls close 10 a.m.

SPRING 2020

Sunday, January 19 Students return

Saturday, March 14–Sunday, Spring break March 22

Friday, May 8 Last day of classes

Saturday, May 9 Residence halls close for first-years, sophomores, and juniors at 5 p.m.

Friday, May 15 Commencement

Residence halls close for seniors at 8 p.m. The Curriculum ...... 3 Latin ...... 85 Africana Studies ...... 3 Latin American and Latino/a Studies . . 85 Anthropology ...... 4 Lesbian, Gay, Bisexual, and Transgender Architecture and Design Studies ...... 9 Studies ...... 86 Art History ...... 10 Literature ...... 89 Asian Studies ...... 14 Mathematics ...... 100 Biology ...... 18 Middle Eastern and Islamic Studies . . . 103 Chemistry ...... 22 Modern and Classical Languages and Chinese ...... 25 Literatures ...... 103 Classics ...... 26 Music ...... 104 Cognitive and Brain Science ...... 26 Philosophy ...... 116 Computer Science ...... 27 Physics ...... 120 Dance ...... 29 Political Economy ...... 122 Development Studies ...... 35 Politics ...... 123 Economics ...... 36 Practicum ...... 0 Environmental Studies ...... 39 Psychology ...... 128 Ethnic and Diasporic Studies ...... 41 Public Policy ...... 141 Film History ...... 42 Religion ...... 143 Filmmaking and Moving Image Arts . . . . 46 Russian ...... 147 French ...... 57 Science and Mathematics ...... 148 Games, Interactive Art, and New Genres 59 Pre-Health Program Gender and Sexuality Studies ...... 60 Social Science ...... 149 Geography ...... 61 Sociology ...... 149 German ...... 64 Spanish ...... 154 Greek (Ancient) ...... 66 Theatre ...... 156 Health, Science, and Society ...... 67 Urban Studies ...... 168 History ...... 68 Visual and Studio Arts ...... 169 International Studies ...... 81 Writing ...... 178 Italian ...... 82 Faculty ...... 189 Japanese ...... 84 Sarah Lawrence College is accredited by the Middle Modern Language and Literature (1101) BA States Association and the New York State Music (1004) BA Education Department. Philosophy (1509) BA Politics (2207) BA The following programs are registered by the New Premedical (4901) BA York State Education Department* for the degrees Psychology (2001) BA listed (registration number in parentheses). Religion (1510) BA Enrollment in other than registered or otherwise Sociology (2208) BA approved programs may jeopardize a student’s Theatre (1007) BA eligibility for certain student-aid awards. Women’s Studies (2299) BA Writing (1507) BA Program Degree Awarded Art of Teaching (0802) MSEd Liberal Arts (4901) BA Child Development (2009) MA Anthropology (2202) BA Dance (1008) MFA Art History (1003) BA Dance Movement Therapy (1099) MS Asian Studies (0301) BA Health Advocacy (4901) MA Biology (0401) BA Human Genetics (0422) MS Chemistry (1905) BA Theatre (1007) MFA Classics (1504) BA Women’s History (2299) MA Dance (1008) BA Writing (1507) MFA Economics (2204) BA Film History and * New York State Education Department Filmmaking (1010) BA Office of Higher Education and the Professions French (1102) BA Cultural Education Center, Room SB28 History (2205) BA Albany, New York 12230 Literature (1599) BA (518) 474-5851 Mathematics (1701) BA THE CURRICULUM 3

Telling Lives: Life History Through THE CURRICULUM Anthropology (p. 7), Mary A. Porter Anthropology The Curriculum of the College as planned for The Anthropology of Images (p. 5), Robert R. 2019-2020 is described in the following pages. All Desjarlais Anthropology courses are planned as full-year courses, except as First-Year Studies: Histories and Theories of otherwise indicated. Where possible, seminar Photography (p. 10), Sarah Hamill Art History descriptions include examples of areas of study in Histories of Modern and Contemporary Art (p. 11), which a student could concentrate for the Sarah Hamill Art History conference portion of the course. In a seminar History of Economic Thought and Economic History: course, each student not only pursues the main Economic and Legal Foundations (p. 36), course material but also selects a related topic for Jamee K. Moudud Economics concentrated study, often resulting in a major paper. Introduction to Economic Theory and Policy (p. 36), In this way, each seminar becomes both a shared Jamee K. Moudud Economics and an individual experience. Legal Foundations to Business History: Corporate Governance, Democracy, and Economic Transformation (p. 38), Jamee K. Moudud Economics AFRICANA STUDIES Food, Agriculture, Environment, and Development (p. 61), Joshua Muldavin Africana studies at Sarah Lawrence College embrace Geography a number of scholarly disciplines and subjects, Introduction to Development Studies: The Political including anthropology, architecture, art history, Ecology of Development (p. 63), Joshua dance, economics, film, filmmaking, history, Islamic Muldavin Geography studies, law, literature, philosophy, politics, Public Stories, Private Lives: Theories and Methods psychology, religion, sociology, theatre, and writing. of Oral History (p. 78), Mary Dillard History Students examine the experience of Africans and of Standing on My Sisters’ Shoulders: Rethinking the people of African descent in the diaspora, including Black Freedom Struggle (p. 73), Komozi those from Latin America, the Caribbean, North Woodard History America, and beyond. Study includes the important Who Owns History? Reclaiming the Master Narrative cultural, economic, technological, political, and From White Supremacy (p. 69), Komozi social intellectual interplay and exchanges of these Woodard History peoples as they help make our world. Women, Culture, and Politics in US History (p. 78), Students will explore the literature of Africans Lyde Cullen Sizer History and peoples of African descent in various languages, First-Year Studies: Literature, Culture, and Politics in including Spanish, Portuguese, French, and English. US History, 1770s–1970s (p. 68), Lyde Cullen The dynamics of immigration and community Sizer History formation are vital in this field. Students will Global Queer Literature: Dystopias and Hope (p. 86), examine the art and architecture of Africa and the Shoumik Bhattacharya Lesbian, Gay, Bisexual, diaspora, along with their history, societies, and and Transgender Studies cultures; their economy and politics; the impact of Conscience of the Nations: Classics of African Islam and the Middle East; the processes of slavery; Literature (p. 95), William Shullenberger the slave trade and colonialism; and postcolonial Literature literature in Africa, Latin America, and the Doing It for the Culture: Journeys Through Caribbean. The program also includes creative work Revelation, Aspiration, and Soul (p. 93), Marcus in filmmaking, theatre, and writing. Anthony Brock Literature Slavery: A Literary History (p. 97), William Courses offered in related disciplines this year are Shullenberger Literature listed below. Full descriptions of the courses may be African Politics (p. 125), Elke Zuern Politics found under the appropriate disciplines. Intervention and Justice (p. 126), Elke Zuern Politics Life, Death, and Violence in (Post)Colonial France Global Child Development (p. 136), Kim Ferguson and Algeria (p. 6), Robert R. Desjarlais (Kim Johnson) Psychology Anthropology Intersectionality Research Seminar (p. 138), On Whiteness: An Anthropological Exploration (p. 6), Linwood J. Lewis Psychology Mary A. Porter Anthropology 4 Anthropology “Sex Is Not a Natural Act”: Social Science graduate-level work, Sarah Lawrence’s anthropology Explorations of Human Sexuality (p. 130), courses take students in often unexpected and Linwood J. Lewis Psychology challenging directions. Advanced Research Seminar (p. 139), Meghan Jablonski , Elizabeth Johnston , Linwood J. Lewis First-Year Studies: Global Psychology Kinships: An Anthropological The Ideas of Photography (p. 176), Joel Sternfeld Exploration of Connectedness Visual and Studio Arts The New Narrative Photography (p. 176), Joel Mary A. Porter Sternfeld Visual and Studio Arts Open, FYS—Year Experiments With Truth: Nonfiction Writing rF om the A common feature of human societies is the Edges (p. 186), Vijay Seshadri Writing enforcement of rules that determine social relations, First-Year Studies: Writing and the Racial particularly regarding kinship: With whom may one Imaginary (p. 178), Rattawut Lapcharoensap be sexual? Whom can a person marry? Which Writing children are “legitimate”? To marry a close relative Nonfiction orkW shop: To Tell the Truth (p. 183), or someone of the same gender may be deemed Suzanne Gardinier Writing unnaturally close in some societies, but marriage Poetry: What Holds the Unsayable (p. 186), Marie across a great difference—such as age, race, nation, Howe Writing culture, or class—can also be problematic. Social rules govern the acceptance or rejection of children in particular social groups, depending on factors such as the marital status of their parents or the ANTHROPOLOGY enactment of appropriate rituals. And configurations of gender are always key to family arrangements. The study of anthropology traditionally covers four Kinship has always been plastic, but the range and fields: sociocultural anthropology, linguistic speed of transformations in gender and kinship are anthropology, biological anthropology, and accelerating due to both globalization and new archaeology. At Sarah Lawrence College, we medical and digital technologies. New medical concentrate on sociocultural and linguistic technologies create multiple routes to conceiving a anthropology. child both within and without the “mother’s” womb. Behind almost every aspect of our lives is a New understandings of the varieties of gender and cultural realm, a shared construction that shapes new techniques in surgery permit sex/gender assumptions and determines much of how we confirmations and changes. Self-administered DNA perceive and relate to the world. Sociocultural tests permit individuals to learn about their anthropology is the study of that realm—its extent geographical roots and, sometimes, to discover close and its effects. As students learn to approach with blood kin whom they did not even know they had. an anthropological eye what they formerly might Digital media permit searches for babies to adopt, have taken for granted, they gain insight into how surrogates to carry an embryo, blood kin separated social forces govern the ways in which we relate to through adoption, and siblings sharing the same ourselves and to each other: how we use words, how sperm donor father. Globalization permits the we define ourselves and others, how we make sense movement of new spouses, infants, genetic material, of our bodies, even how we feel emotions. Through embryos, and family members. Kin who are examining the writings of anthropologists, viewing separated by great distances easily chat with each ethnographic films, and discussing these and other other in virtual family conversations on Skype. In this materials in seminar and conference sessions, First-Year Studies seminar, we will look at many sites students develop a comprehensive and of gender and kinship through a variety of multipatterned sense of the cultural dimensions of conceptual approaches, including theories of race, human lives. By studying the underpinnings of gender, queerness, the postcolonial, and language, symbolic practices, race, gender, sexuality, anthropological kinship studies. Our topics will policy and advocacy, medical systems, cities, include transnational adoption between Sweden and modernity, and/or social organization across a range Chile, the return of adoptees from China and Korea to of Western and non-Western settings, students come their countries of birth, commercial surrogacy in to better understand how meaning is made. With India, polygamy in East and West Africa, cross-class seminar dynamics and content characteristic of marriage in Victorian England, incest regulation cross-culturally, African migrations to Europe, and same-sex marriage. Questions to explore will include: THE CURRICULUM 5

Who are “real” kin? Why do we hear so little about course will dialogue with the emerging cross- birth mothers? Why were intelligence tests disciplinary interest in materiality to invert the administered to young babies in 1930s adoption longstanding exploration of how people make things proceedings? What is the experience of families with and generate a new reflection on how things make transgender parents or children? What is the people. Contrary to the deeply entrenched opposition compulsion to find genetically connected “kin”? How between subjects and objects, a selection of essays many mothers can a person have? How is marriage drawn from recent material culture studies will connected to labor migration? Why are the people show how things mediate social relations and how who care for children in foster care called inanimate objects may, in fact, be endowed with a “parents”? How is kinship negotiated in interracial form of agency. families? Our materials for this class include ethnographies, scholarly articles, films, memoirs, The Anthropology of Images and digital media. In the fall semester, students will alternate biweekly individual conferences with Robert R. Desjarlais biweekly small-group research and writing Open, Seminar—Fall activities. In the spring semester, students will have Images wavered in the sunlit trim of appliances, biweekly conferences. something always moving, a brightness flying, so much to know in the world.—Don Delillo, Libra

How Things Talk A few cartoons lead to cataclysmic events in Europe; Aurora Donzelli a photograph printed in a newspaper moves a Open, Lecture—Spring solitary reader; a snapshot posted on the Internet A long-standing tradition within Western thought leads to dreams of fanciful places; memories of a has conceptualized language as a system of signs past year haunt us like ghosts. What each of these clearly separate from material reality and aimed at occurrences has in common is that they all entail the enabling the transmission of information. The divide force of images in our lives, be these images visual between the intangible realm of language and the or acoustic in nature, made by hand or machine, or material domain of things has dominated circulated by word of mouth or simply imagined. In scholarship across several disciplines, leaking into this seminar, we will consider the role that images common sense. This lecture course questions this play in the lives of people in various settings deeply entrenched divide and suggests that, in order throughout the world. In delving into terrains at once to understand our contemporary moment, we need actual and virtual, we will develop an understanding to bring into the same analytical field both the of how people throughout the world create, use, linguistic and the material. The course readings circulate, and perceive images and how such efforts provide an introduction to anthropology’s theories tie into ideas and practices of sensory perception, and methods through an investigation of how words time, memory, affect, imagination, sociality, history, and things mediate and enable human experience, politics, and personal and collective imaginings. creating the complex semiotic landscapes that we Through these engagements, we will reflect on the inhabit. Throughout the semester, students will be fundamental human need for images, the introduced to a series of theoretical and complicated politics and ethics of images, aesthetic ethnographic readings aimed at illustrating the and cultural sensibilities, dynamics of time and blurred boundaries between words and things, memory, the intricate play between the actual and subjects and objects, signs and referents, artworks the imagined, and the circulation of digital images in and artifacts, gifts and commodities, alienable and an age of globalization. Readings will include a inalienable possessions. On the one hand, the course number of writings in anthropology, art history, will challenge the classic language-world divide that philosophy, psychology, cultural studies, and critical has dominated both academic scholarship and theory. Images will be drawn from photographs, popular common sense. Contrary to the view that paintings, sculptures, drawings, films, videos, language is exclusively a system of symbols that graffiti,eligion, r rituals, tattoos, inscriptions, novels, stand for and allow speaking about the world, a poems, road signs, advertisements, dreams, series of theoretical readings, practical exercises, fantasies, phantasms, and any number of and ethnographic case studies will reveal the fabulations in the worlds in which we live and materiality and performativity of language. Through imagine. this journey, language will appear as a material entity and as a form of action endowed with the power to shape the world. On the other hand, the 6 Anthropology Immigration and Identity and forms of domination, violence, and resistance—from centuries of French colonial rule in Deanna Barenboim North Africa to the Algerian war of Open, Seminar—Spring independence—we will consider a number of key This course asks how contemporary immigration conceptual themes, including colonialism and shapes individual and collective identity across the postcolonialism, state violence and terror, symbolic life course. Adopting an interdisciplinary approach violence, personal and cultural trauma, personal and that bridges cross-cultural psychology, human intergenerational memory, and the politics of traces, development, and psychological anthropology, we effacement, recognition, death, burial, and will ask how people’s movement across borders and martyrdom. We will also give serious thought to boundaries transforms their senses of self, as well literary, photographic, and filmic eprr esentations of as their interpersonal relations and connections to violence, recovery, and creative renewal. Along the community. We will analyze how the experience of way, we will engage with a number of highly immigration is affected by the particular significant thinkers and writers—including Aimé intersections of racial, ethnic, class, gender, Césaire, Frantz Fanon, Mouloud Feraoun, Kateb generational, and other boundaries that immigrants Yacine, Pierre Bourdieu, Michel Foucault, Assia cross. For example, how do undocumented youth Djebar, Leïla Sebbar, Tahar Djaout, Albert Memmi, and navigate the constraints imposed by “illegalized” Achille Mbembe—and watch and discuss a series of identities, and how do they come to construct new important films, including The Battle of Algiers (Gillo self-perceptions? How might immigrants Pontocorvo, 1967), Chronicle of the Years of Ember acculturate or adapt to new environments, and how (Mohammed Lakhdar Hamina,1975), and Caché does the process of moving from home or living “in- (Michael Haneke, 2006). Students will be asked in between” two or more places impact mental health? their conference work to undertake a concerted Through our close readings and seminar discussions research and writing project related to the themes on this topic, we seek to understand how different of the course. forms of power—implemented across realms that include state-sponsored surveillance and immigration enforcement, language and educational On Whiteness: An Anthropological policy, health and social services—shape and Exploration constrain immigrants’ understanding of their place Mary A. Porter in the world and their experience of exclusion and Sophomore and above, Seminar—Fall belonging. In our exploration of identity, we will Putih, Blanken, Blankes, Wazungu, Caucasian, Blanc, attend to the ways in which immigrants are left out White, Oyibo, Onye ocha, Brancos, Blancos...all these of national narratives, as well as the ways in which words, in different parts of the world, have denoted people who move across borders draw on cultural particular populations as white. Who counts as white resources to create spaces and practices of people varies, however, and has as much to do with connection, protection, and continuity despite the behaviors and perceptions as with pigmentation. disruptive effects of immigration. Settlers in overseas colonies, for example, ensured their ongoing privileged whiteness through Life, Death, and Violence in particular behaviors, including racial segregation (Post)Colonial France and Algeria and the creation of leisurely pursuits and manners that mimicked the metropole. Whiteness is a Robert R. Desjarlais complicated and messy category of particular Sophomore and above, Seminar—Fall relevance at this historical moment, and we will But we must try to look more closely at the reality of approach it in several ways. First, we will consider Algeria. We must not simply fly vo er it. We must, on the discipline of anthropology as the source of an the contrary, walk step by step along the great analytical toolkit. Having mastered that, we can wound inflicted on the Algerian soil and on the conduct a more critical exploration of the discipline Algerian people. —Frantz Fanon, A Dying Colonialism, of anthropology and its practitioners’ work on 1959 questions of white and nonwhite. We will then turn This course attends to the multiple and complicated to the examination of particular sites where effects that French colonialism has had on the lives, whiteness has been generated and contested. These bodies, institutions, and social, cultural, and political include the Dutch colonies of South Africa and circumstances of Algerians and others living in Indonesia and British-occupied Kenya, followed by Algeria and France. In attending to a number of contemporary and more local expressions of important key historical events, colonial practices, whiteness—including white nationalism and THE CURRICULUM 7 popular culture in postwar Great Britain and shifting Washington, DC, Ecuadorians in Italy, or indigenous notions of whiteness in the United States. In all of Latin American migrants in California and Wyoming? our explorations, we will examine the constructions This course explores issues of identity and of whiteness as it articulates with gender, class, difference, locality and community, in the context of sexuality, and popular culture and with broader transnational mobility and the globalized flow of political contexts. Our resources will include people, ideas, values, and things. Engaging with anthropological texts, film, memoir, and fiction. The recent scholarly work in the fields of anthropology, structure of the seminar is discussion based on critical race studies, critical indigenous studies, readings. All students will participate in the sociology, geography, architecture, and literature, we discussions, both by speaking and by listening to will seek to decode sociospatial arrangements to each other. better understand structures and processes of exclusion and marginalization. At the same time, we Telling Lives: Life History Through will observe how people’s navigations through space and their efforts at “place-making” create sites of Anthropology collective identity, resistance, belonging, and Mary A. Porter recognition. Posed in a wide range of ethnographic Sophomore and above, Seminar—Spring contexts, our efforts to puzzle through these issues Through studying life-history narratives (one will require attention to the ways in which space and person’s life as narrated to another), place are, for instance, embodied, gendered, autobiographical memoir, and more experimental racialized, and (il)legalized. We will likewise attend forms in print and on screen, we will explore the to the politics and ethics of decolonizing scholarship diverse ways that life courses are experienced and on space and place and to the meanings of an represented. Throughout our readings, we will engaged anthropology that leans toward social carefully examine the narratives themselves, paying justice. attention to the techniques of life-history construction and familiarizing ourselves with ethical, methodological, and theoretical challenges. Language and Capitalism We will consider a number of questions about telling Aurora Donzelli lives: What is the relationship between the narrator Intermediate/Advanced, Seminar—Spring and his or her interlocutor(s)? How does a life- One of the effects of advanced capitalism is to history approach inform debates about complicate the distinction between words and representation? What can the account of one objects and between humans and things. Given the person’s life tell us about the wider culture of which radicalization of market ideologies of our he or she is a part? How can individual life narratives contemporary moment, what counts as inalienable shed light on issues such as poverty, sexuality, spiritual values opposed to alienable material colonialism, disability, racism, and aging? The entities? What should and what should not have a selected texts attend to lives in various parts of the price? Which is the original, and which is the copy? world, including Australia, Great Britain, the Is a brand a symbol that stands for a product or a Caribbean, East Africa, and the United States. product in itself? How can we distinguish medium Students will also analyze primary sources and from message? Is kindness a virtuous demeanor or a create a life history as part of their work for the form of immaterial affective labor that requires the course. performance of specific acts of speech? This advanced seminar will engage the role of language—both as a symbolic code and as a Spaces of Exclusion, Places of material tool—in the spreading of late/neoliberal Belonging capitalism. While most analyses of the world’s Deanna Barenboim current order tend to focus on political and Intermediate, Seminar—Fall economic aspects, this course explores how certain How do people construct meaningful places in a ways of speaking and using language may partake in favela in Brazil or in the hill farms of Scotland? What producing capitalist forms of reasoning and should we make of “place-less” spaces or states, practical conduct. Students will learn, for example, such as those instantiated through technologies like how to look at graphic artifacts (e.g., street signage, social media or Hindu yogic and meditative practice? wall texts, typefaces, letterforms, logos, and other How should we understand notions of displacement, types of graphic media) as socially and politically transborder identifications, or longings for homeland meaningful semiotic technologies that shape our as they play out for Sierra Leonean Muslims in contemporary capitalist landscapes. They also will 8 Anthropology learn how to analyze new protocols of discourse that The Geography of Contemporary China: A Political characterize our everyday lives: the customer Ecology of Reform, Global Integration, and Rise satisfaction survey, the service encounter, the to Superpower (p. 62), Joshua Muldavin checklist, the logbook, the flowchart, the electoral Geography mission statement, the training session, etc. In spite Diversity and Equity in Education: Issues of Gender, of their apparent ordinariness, these discursive Race, and Class (p. 78), Nadeen M. Thomas genres/textual artifacts are key for the production History of the self-improving and self-reflexive subjects Public Stories, Private Lives: Theories and Methods required by the regimes of moral accountability and of Oral History (p. 78), Mary Dillard History the forms of market rationality that characterize our The Middle East and the Politics of Collective contemporary moment. While reading ethnographic Memory: Between Trauma and analyses of specific echnologiest of discourse, Nostalgia (p. 77), Matthew Ellis History students will engage broader questions: How Engendering the Body: Sex, Science, and Trans pervasive are neoliberal structures of practice? To Embodiment (p. 87), Emily Lim Rogers Lesbian, what extent can neoliberalism be represented as an Gay, Bisexual, and Transgender Studies overarching and coherent global trend generated by Conscience of the Nations: Classics of African the homogenizing forces of Western capitalism? Is Literature (p. 95), William Shullenberger our moral and affective experience completely Literature shaped by the extension of economic rationality to First-Year Studies: The Perils of Passion: Ancient all areas of life? The aim is to show how, within a Greek History for Today’s Troubled regime of advanced capitalism, life and labor unfold Times (p. 89), Emily Katz Anhalt Literature through complex interplays of semiotic codes, Odyssey/Hamlet/Ulysses (p. 96), William affective registers, and material objects. Shullenberger Literature Slavery: A Literary History (p. 97), William Other courses of interest are listed below. Full Shullenberger Literature descriptions of the courses may be found under the The Poetry of Earth: Imagination and Environment in appropriate disciplines. English Renaissance Poetry (p. 94), William Shullenberger Literature First-Year Studies: Histories and Theories of An Introduction to Statistical Methods and Photography (p. 10), Sarah Hamill Art History Analysis (p. 100), Daniel King Mathematics Masterworks of Art and Architecture of Western Cross-Cultural Listening (p. 106), Niko Higgins Music Traditions (p. 12), Jerrilynn Dodds Art History Ecomusicology: Music, Activism, and Climate Paris: A History Through Art, Architecture, and Urban Change (p. 106), Niko Higgins Music Planning (p. 13), Jerrilynn Dodds Art History Introduction to Social Theory: Philosophical Tools for Romanesque and Gothic: Art and Architecture at the Critical Social Analysis (p. 117), David Peritz Birth of Europe (p. 13), Jerrilynn Dodds Art Philosophy History Democracy, Diversity, and (In)equality (p. 126), Images of India: Text/Photo/Film (p. 17), Sandra David Peritz Politics Robinson Asian Studies Challenges to Development: Child and Adolescent Sacrifice (p. 17), Sandra Robinson Asian Studies Psychopathology (p. 140), Jan Drucker Writing India: Transnational Narratives (p. 16), Psychology Sandra Robinson Asian Studies Cultural Psychology of Development (p. 139), Hindu Iconography and Ritual (p. 18), Sandra Barbara Schecter Psychology Robinson Asian Studies First-Year Studies: Culture in Mind (p. 129), Deanna First-Year Studies: Introduction to Environmental Barenboim Psychology Studies: Cultures of Nature (p. 39), Charles Global Child Development (p. 136), Kim Ferguson Zerner Environmental Studies (Kim Johnson) Psychology Introduction to Property: Cultural and Environmental Intersectionality Research Seminar (p. 138), Dimensions (p. 40), Charles Zerner Linwood J. Lewis Psychology Environmental Studies “Sex Is Not a Natural Act”: Social Science Food, Agriculture, Environment, and Explorations of Human Sexuality (p. 130), Development (p. 61), Joshua Muldavin Linwood J. Lewis Psychology Geography International Perspectives of Psychology (p. 129), Introduction to Development Studies: The Political Christopher Hoffman Psychology Ecology of Development (p. 63), Joshua Muldavin Geography THE CURRICULUM 9

The Politics of “Illegality,” Surveillance, and Courses of study might include structural Protest (p. 142), Luisa Laura Heredia Public engineering in physics and projects on bridge design Policy that reflect these structural principles in courses on The Emergence of Christianity (p. 145), Cameron C. virtual architecture and sculpture; the study of the Afzal Religion architecture and politics of sustainability in class Changing Places: Sociospatial Dimensions of and conference work for art and architectural Urbanization (p. 151), Shahnaz Rouse Sociology history and environmental studies; and sculpture Detention, Deportation, Dispossession: From and art history courses that engage issues of Incarceration to Displacement (p. 151), technology, expression, and transgression in the Parthiban Muniandy Sociology uses of the techniques and crafts of construction. Lexicon of Migration: Temporariness and When coordinated with participating faculty, Displacement (p. 152), Parthiban Muniandy programs of study offer an excellent preparation for Sociology further engagement in the fields of architecture Sociology of Global Inequalities (p. 150), Parthiban (both theory and practice), in digital and Muniandy Sociology environmental design, and in engineering. Travel and Tourism: Economies of Pleasure, Profit, and Power (p. 153), Shahnaz Rouse Sociology Courses offered in related disciplines this year are Lost and Found: Collage and the Recycled listed below. Full descriptions of the courses may be Image (p. 177), Gary Burnley Visual and Studio found under the appropriate disciplines. Arts How Things Talk (p. 5), Aurora Donzelli Anthropology Media Burn: Moving Image Installation in Language and Capitalism (p. 7), Aurora Donzelli Practice (p. 175), Jenny Perlin Visual and Studio Anthropology Arts Architectures of the Future: 1850 to the The Body, Inside Out: Drawing and Painting Present (p. 12), Joseph C. Forte Art History Studio (p. 171), John O’Connor Visual and Studio Lift Up Your Hearts: Art and Architecture of the Arts Baroque—Europe and Its Colonies, Experiments With Truth: Nonfiction Writing rF om the 1550–1700 (p. 10), Joseph C. Forte Art History Edges (p. 186), Vijay Seshadri Writing Masterworks of Art and Architecture of Western First-Year Studies: Ecopoetry: Poetry in Relation to Traditions (p. 12), Jerrilynn Dodds Art History the Living World (p. 179), Marie Howe Writing Paris: A History Through Art, Architecture, and Urban First-Year Studies: Necessary Hero (p. 178), Mary Planning (p. 13), Jerrilynn Dodds Art History LaChapelle Writing Romanesque and Gothic: Art and Architecture at the Our World, Other Worlds (p. 180), Myra Goldberg Birth of Europe (p. 13), Jerrilynn Dodds Art Writing History First-Year Studies: Introduction to Environmental Studies: Cultures of Nature (p. 39), Charles ARCHITECTURE AND DESIGN Zerner Environmental Studies Introduction to Property: Cultural and Environmental STUDIES Dimensions (p. 40), Charles Zerner Environmental Studies Architecture and design studies at Sarah Lawrence Who Tells Your Story? Cultural Memory and the College is a cross-disciplinary initiative that offers a Mediation of History (p. 79), Rachelle Sussman variety of analytical approaches to the cultural act Rumph History of constructing environments, buildings, and Calculus I: The Study of Motion and Change (p. 101), aesthetic, yet functional, objects. Courses in Philip Ording Mathematics architectural and art history and theory, computer Calculus II: Further Study of Motion and design, environmental studies, physics, and Change (p. 102), Philip Ording Mathematics sculpture allow students to investigate—in both Theories of the Creative Process (p. 137), Charlotte L. course work and conference—a wide range of Doyle Psychology perspectives and issues dealing with all facets of Changing Places: Sociospatial Dimensions of built design. These perspectives include theoretical Urbanization (p. 151), Shahnaz Rouse Sociology explorations in history and criticism, formal 3D Modeling (p. 174), Shamus Clisset Visual and approaches that engage sociopolitical issues, Studio Arts sustainable problem solving, and spatial exploration Color (p. 177), Gary Burnley Visual and Studio Arts using both digital and analog design tools. 10 Art History Introduction to Digital Imaging (p. 173), Shamus How is a photograph both a transcription of the Clisset Visual and Studio Arts world—an index, decal, or one-to-one transfer of a Media Burn: Moving Image Installation in thing—and a representation, a culturally-encoded Practice (p. 175), Jenny Perlin Visual and Studio image that tells us about how we see ourselves and Arts others in the world? We each hold thousands of The Ideas of Photography (p. 176), Joel Sternfeld photographs on our phones, but they are digital, Visual and Studio Arts disembodied, and dematerialized images that are The New Narrative Photography (p. 176), Joel simultaneously everywhere and nowhere. What can Sternfeld Visual and Studio Arts the history of photography (from 1839 to the First-Year Studies: Ecopoetry: Poetry in Relation to present) teach us about the medium’s the Living World (p. 179), Marie Howe Writing materiality—or how photographs were to be found in albums, lavish frames, photobooks, archives, the wall in a museum, or as slides projected on a screen? What do these material histories tell us about what ART HISTORY photography was—and now is? This course will look closely at specific themes within the history and The art history curriculum at Sarah Lawrence College theory of photography, including: documentary covers a broad territory historically, culturally, and aesthetics and discourses of colonization; methodologically. Students interested in art theory, photography’s archival practices and forms of social social art history, or material culture have control; identity politics and the photographic considerable flexibility in designing a program of representation of visibility; digitization and study and in choosing conference projects that link contemporary photography; globalization, labor, and artistic, literary, historical, social, philosophical, and photojournalism; and the ethics and politics of the other interests. Courses often include field trips ot photography of war and violence. Not a major museums, auction houses, and art galleries in comprehensive survey, this course instead looks at New York City and the broader regional area, as well focused case studies structured chronologically. We as to relevant screenings, performances, and will do close readings of theoretical and primary architectural sites. Many students have extended source texts and consider scholarly, literary, and their classroom work in art history through aesthetic texts. The course also places strong internships at museums and galleries, at nonprofit emphasis on what it means to write about and arts organizations, or with studio artists; through describe photographs. Whenever possible, we will their own studio projects; or through advanced-level look at photographs in person. Individual conference senior thesis work. meetings will alternate biweekly with group Sarah Lawrence students have gone on to activities that may include field trips ot New York graduate programs in art history at Columbia, Johns City collections, writing workshops, and research Hopkins, Northwestern, Bard, Williams, Yale, sessions in the library. University of Chicago, Oxford University, and University of London, among others. Many of their classmates have pursued museum and curatorial Lift Up Your Hearts: Art and work at organizations such as the Guggenheim Architecture of the Museum, the Metropolitan Museum of Art, and the Baroque—Europe and Its Colonies, Art Institute of Chicago; others have entered the art business by working at auction houses such as 1550–1700 Sotheby’s or by starting their own galleries; and still Joseph C. Forte others have entered professions such as nonprofit Open, Lecture—Year arts management and advocacy, media production, In Annibale Carracci’s painting of St. Margaret and publishing. (1609), an Early Christian martyr, an altar is inscribed: Sursum Corda (Lift Up Your Hearts). This First-Year Studies: Histories and course explores what that meant in the 17th Theories of Photography century—for the arts to be a vehicle of uplift and salvation, a challenge to the supremacy of nature, an Sarah Hamill analysis of history, and a site of contention, paradox, Open, FYS—Year and pride for artists and architects. Using What is a photograph? This course looks at that PowerPoint presentations, class discussion, and question from many different vantage points, papers focusing on works in the Metropolitan including photography theory, social history, art Museum of Art, the course will cover the art of 16th- history, media theory, and material culture studies. century Italy—as that art frames the questions that THE CURRICULUM 11 painters, sculptors, and architects pursued 1960s—against a changing social, economic, and throughout Europe in the 17th century, commonly political sphere—as artists tested modernist called the Age of the Baroque. Included will be categories of painting and sculpture; incorporated studies of major movements in religion, politics, and new technologies such as television and video into society (Catholic reform and the founding of the their art; and questioned the hierarchies of art’s Jesuits Order, the evolution of academic art, the production, reception, and display through protest, creation of papal Rome, the importance of private activism, and audience participation. We will look patronage); issues in aesthetics and art theory (the closely at how artists embraced radicality by transformation of classical models, theories of the protesting for civil rights, women’s rights, and reception of nature, the links to poetry, and the LGBTQ+ rights and by claiming an antiwar politics. In dynamics of style); the emergence of the varying the last 20 years, all of this shifted with the return to national traditions (the sweet style and Bel traditional categories of painting and sculpture and Composto in Italy, Calvinist naturalism and the power the rise of the global art market. Although we will of light in The Netherlands, and high classicism and look at art since the 2000s, the main focus is art Bon Gout in France). Focus will also be on careers of from 1960 to 2000, including Gutai, happenings, artists like Titian and the erotics of the brush; neoconcretism, pop art, Fluxus, minimalism, global Michelangelo and transcendent form; Caravaggio conceptual art, site-specificity, earthworks, the and naturalism as the death of painting; Artemisia Chicano Art Movement, AfriCOBRA, feminism, video Gentileschi, biography and exemplum; Bernini and art, institutional critique, installation, activist art, the beautiful whole; Rubens and the multiple ways participatory art, relational aesthetics, craft, and of transforming; Rembrandt and the rough style; new media. Throughout, we will focus on specific Vermeer and the discipline and technique of light; artworks and gain a vocabulary for close looking and Poussin and the modes of expression, among while also attending to primary sources (manifestos, others. Group conferences in the first semester will letters, statements, poems) and secondary art focus on the art of Michelangelo as practice and historical and theoretical accounts. Group problem and theories of the Baroque; in second conferences will closely investigate works by a semester, theories and problems in 17th-century single artist. Assignments will include visual analysis architecture. papers based on works in New York City collections, exams, and reading responses. This is a yearlong Histories of Modern and course but will be open to new enrollments in the Contemporary Art spring. Sarah Hamill Open, Lecture—Year Ancient Albion: Art and Culture in This course is an introduction to modern and the British Isles From Stonehenge contemporary art from 1880 to the present. In the to the Viking Invasions fall semester, we will explore modernist histories of David Castriota art, investigating how artists responded to a world Open, Seminar—Year that was ravaged by fascism, colonialism, and war; Given their geographical setting at the northwestern altered by industry, technology, and rationalized extreme of Europe, the arts and cultures of “Albion,” forms of labor; and tested by shifting national, or Britain and Ireland, have often been described by ethnic, and gendered identities. What the term “insular” in the sense of isolated, discrete, representational strategies did artists use to or peripheral—yet nothing could be further from the respond to those upheavals? How is the history of truth. No less than six Roman emperors spent time in Western avant-gardist art also one of colonization Britain, and four came to power there. To a great and cultural appropriation? The course serves as an extent, Irish clerics were responsible for the survival introduction to the historical avant-gardes in the of classical learning during the Dark Ages. Indeed, United States, Mexico, and Europe—including throughout history, cultural developments in the Impressionism, Fauvism, Expressionism, Cubism, British Isles were intimately related to ideas and Constructivism, Vorticism, Dada, Surrealism, events on the European Continent and the Muralism, the Harlem Renaissance, and Abstract Mediterranean. Following this basic premise, in the Expressionism—and to alternative modernisms that fall semester the course will examine civilization in fall outside the canon, including so-called “outsider” Britain and Ireland from the late Stone Age or art, queer modernisms, and modernisms in India, Megalithic period, through the Bronze and Early Iron Japan, and Latin America. In the spring, we will Ages, to the coming of the Celts and the Roman explore a sea change that began in the conquest. In the spring, we will focus on later Roman 12 Art History Britain, Irish monasticism, and the emergence of nouveau, Bauhaus, modernism and nachine villas, Anglo-Saxon culture down to the arrival of the archigram and walking cities, postmodernism and Vikings. At every turn, we will consider interactions DisneyWorld, deconstruction, new pragmatism, with the urban civilizations to the south and figural, digital, sustainable) and figures (William west—the early Aegean, Greece, Rome, and the early Ruskin, Frank Lloyd Wright, Le Corbusier, Mies van medieval Continent—to discover that Albion was an der Rohe, Peter Eisenman, Rem Koolhaas, Sam integral part of the political, religious, and economic Mockbee, Zaha Hadid, Jean Gang, and BIG—Bjarke forces that shaped the art and history of Europe up Ingels, not "the Notorious"). Readings will be drawn to the present time. from history, philosophy, literature (realist, sci-fi, and visionary), Edmund Burke, William Blake, William Masterworks of Art and Morris, Buckminster Fuller, Heidegger, Foucault, Benjamin, and others. Monuments include the Eiffel Architecture of Western Traditions Tower, the Houses of Parliament, the Einstein Tower, Jerrilynn Dodds the World’s Fairs of 1925 and 1939, the Bauhaus Open, Seminar—Year building, Fallingwater, the Seagram’s building, New This is a discussion-based course with some lecture York monuments at Ground Zero and in Lower segments, in which students will learn to analyze Manhattan, the Irish Hunger monument, among works of art for meaning against the backdrop of the many other structures. Projects, papers, an historical and social contexts in which the works architectural notebook dedicated to class notes, were made. It is not a survey but will have as its readings, drawings, musings, etc. will be required, subject a limited number of artists and works of art along with a conference project in the history, and architecture—about which students will learn theory, philosophy, and sociopolitical in depth through both formal analysis and readings. context—including women as users, patrons, and The goal is to teach students to deal critically with makers of art and architecture. Well-formulated works of art, using the methods and some of the design projects are a possibility. This course shares theories of the discipline of art history. The “Western connections with visual arts, film, and a broad range Tradition” is understood here geographically, of subjects in the humanities and social sciences. including works executed by any political or cultural groups from the Fertile Crescent, the Mediterranean, and extending to Europe and the Americas. The The City in Antiquity course will include works from Ancient Mesopotamia David Castriota through the present. Open, Seminar—Fall The course will examine the origins and development of urban architecture and city planning in the Architectures of the Future: 1850 ancient Near East, Egypt, and the Greek and Roman to the Present world. We will consider the built environment as a Joseph C. Forte practical response to the requirements of social, Open, Seminar—Year economic, and political organization, as well as to Visionaries and builders; users and functions; religious belief. We will begin by examining the thoughts, practices, and theories of architecture factors behind the earliest urban developments from the beginnings of the Industrial Revolution to among the settled communities of the Near East and today...all claim in one way or another to rethink the Egypt, culminating in the great cities of past, realize the present, and, most importantly, Mesopotamia and the Nile Valley. We will then shift create the future. Through PowerPoint to urban development in the Greek world, starting presentations, readings, and discussion, this course with the Bronze Age Aegean and then the gives a challenging, inclusive, and nuanced subsequent emergence of the polis in response to understanding of buildings and monuments. We will the urban cultures of Egypt and the Near East. We learn to read architecture in depth with architects, will conclude by examining the urban elaborations of critics, historians, and philosophers; to analyze the Classical and Hellenistic Greece and the Greek concept of form and its urban, sociopolitical, and impact on the cultures of ancient Italy. epistemological implications; and to see how architecture gives shape and meaning to its context, sense to our spatial and historical experience, and image to philosophies of human collective action. We will analyze major movements (arts and crafts, technological sublime and Brooklyn Bridge, art THE CURRICULUM 13 Romanesque and Gothic: Art and remains, the course will also make ample use of Architecture at the Birth of Europe biblical and historical texts or sources to investigate the intersection of archaeology, culture, and religion. Jerrilynn Dodds Open, Seminar—Fall This course explores the powerful architecture, Paris: A History Through Art, sculpture, and painting traditions that lie at the Architecture, and Urban Planning heart of the creation of Europe and the idea of the Jerrilynn Dodds West. We will use a number of strategies to explore Sophomore and above, Seminar—Spring how monumental architecture and expressive In this course, we will trace the history of narrative painting and sculpture were engaged in Paris—from its founding through World War the formation of a common European identity and I—using the arts that both defined and emanated uncover, as well, the architectural vestiges of from this remarkable city. We will use works of art, diverse groups and cultures that challenge that architecture, and urban design as documents of uniform vision. These are arts that chronicle deep history, of social and cultural values, and as the social struggles between classes, intense devotion history of ideas. Student projects will chart these through pilgrimage, and the rise of cities and relationships graphically and construct a cultural universities that could both advocate genocide and history of Paris from Roman Lutetia to the City of nurture enormous creativity, in styles both Lights. flamboyant and austere, growing from places as diverse as rural monasteries to Gothic cathedrals. Other courses of interest are listed below. Full The course will explore those aspects of expressive descriptions of the courses may be found under the visual language that link the buildings to social appropriate disciplines. history, the history of ideas, and political ideology. How Things Talk (p. 5), Aurora Donzelli Anthropology Archaeology and the Bible Language and Capitalism (p. 7), Aurora Donzelli Anthropology David Castriota Images of India: Text/Photo/Film (p. 17), Sandra Open, Seminar—Spring Robinson Asian Studies With the advent of early archaeological excavation in Writing India: Transnational Narratives (p. 16), the Near East, biblical studies entered upon a new Sandra Robinson Asian Studies modern phase in which the criticism of scriptural Hindu Iconography and Ritual (p. 18), Sandra revelation was no longer simply a matter of faith or Robinson Asian Studies theology. With the new discoveries at Nimrud just First-Year Studies: Introduction to Environmental before the middle of the 19th century, the Assyrians Studies: Cultures of Nature (p. 39), Charles and the other great powers of ancient Mesopotamia Zerner Environmental Studies mentioned in Old Testament narratives suddenly Intermediate French I (Section I): French became a visible reality, demonstrating that biblical Identities (p. 58), Eric Leveau French narratives could now be evaluated or corroborated Ancient Albion: Art and Culture in the British Isles empirically against hard, material evidence. In due from Stonehenge to the Viking course, pioneering archaeologists also turned their Invasions (p. 71), David Castriota History attention to the Holy Land to pursue this new Intermediate Italian: Modern Italian Culture and agenda. Since then, the convergence of archaeology Literature (p. 83), Tristana Rorandelli Italian and modern professional criticism of the Old Odyssey/Hamlet/Ulysses (p. 96), William Testament has increasingly enabled us to Shullenberger Literature reconstruct the reality behind the biblical narratives. The Poetry of Earth: Imagination and Environment in The course will explore this process, focusing English Renaissance Poetry (p. 94), William primarily on the material culture of the ancient Shullenberger Literature Levant—beginning in the Bronze Age with the The Philosophy of Music (p. 105), Martin Goldray Canaanites, the emergence and subsequent Music development of the Iron Age Israelite kingdom, its Theories of the Creative Process (p. 137), Charlotte L. destruction, the Babylonian Captivity, the eventual Doyle Psychology return of the Jews under Persian rule, and the re- The Psychological Impact of Art (p. 135), Alison Jane emergence from Hellenistic Greek domination of a Martingano Psychology Judaean kingdom under the Hasmoneans. Although Cuban Literature and Film Since 1959—Vivir y focused largely on archaeological or material pensar en Cuba (p. 155), Isabel de Sena Spanish 14 Asian Studies 3D Modeling (p. 174), Shamus Clisset Visual and Students are encouraged to consider studying Studio Arts in Asia during their junior year. The Office of Advanced Interdisciplinary Studio II (p. 171), John International Programs assists students in locating O’Connor Visual and Studio Arts appropriate opportunities. Recent Sarah Lawrence Basic Analog Black-and-White Photography (p. 176), College students have participated in programs of Michael Spano Visual and Studio Arts study in China, India, and Japan. Drawing From Nature (p. 176), Gary Burnley Visual and Studio Arts First-Year Studies: Chinese Drawing into Painting: A Sense of Place (p. 171), Vera Literature, Folktales, and Popular Iliatova Visual and Studio Arts Culture First-Year Studies: The Way Things Go (p. 169), John O’Connor Visual and Studio Arts Ellen Neskar Introduction to Digital Imaging (p. 173), Shamus Open, FYS—Year Clisset Visual and Studio Arts Throughout Chinese history, high literature and Look at You: The Portrait (p. 177), Gary Burnley Visual popular folklore shared a fascination with certain and Studio Arts subjects, including ghosts and spirits, heroes and Lost and Found: Collage and the Recycled bandits, lovers and friends. Elite authors used these Image (p. 177), Gary Burnley Visual and Studio subjects as metaphors to contemplate and criticize Arts their cultural, economic, and political traditions. In Media Burn: Moving Image Installation in folklore, these subjects gave voice to non-elite Practice (p. 175), Jenny Perlin Visual and Studio concerns and preoccupations and merged with a Arts variety of practices in popular culture (secular Problems in Photography (p. 175), Lucas Blalock festivals, ancestor worship, and religious practices). Visual and Studio Arts Although technically and stylistically different, high The Body, Inside Out: Drawing and Painting literature and popular folklore enjoyed a continual Studio (p. 171), John O’Connor Visual and Studio interplay, in which each redirected and influenced Arts the other. This course aims to build different, and The Ideas of Photography (p. 176), Joel Sternfeld sometimes competing, conceptions of “tradition and Visual and Studio Arts culture,” “elite and folklore,” as well as to The New Narrative Photography (p. 176), Joel understand their continuing relevance today. To that Sternfeld Visual and Studio Arts end, we will focus on the close reading of short-story Experiments With Truth: Nonfiction Writing rF om the fiction, olktf ales, stage plays, opera, and religious Edges (p. 186), Vijay Seshadri Writing practices from three pivotal periods in Chinese Our World, Other Worlds (p. 180), Myra Goldberg history: the Tang-Song period (8th-12th centuries), Writing the Ming-Qing period (15th-18th centuries) and the Poetry: What Holds the Unsayable (p. 186), Marie 20th century. Our approach will involve both literary Howe Writing and historical analysis, and our goals will be to discover continuities and transformations in both content and form and the interchange between elite and popular practices. Topics for class discussion ASIAN STUDIES will include: the nature and definitions of the individual; the relationships among the self, family, Asian studies is an interdisciplinary field grounded in and society; changing notions of honor, virtue, and current approaches to the varied regions of Asia. individualism; attitudes toward gender and sexuality; Seminars and lectures are offered on China, Japan, and the role of fiction and olklorf e in promoting or India, Bangladesh, Nepal, and Indonesia. Courses overturning cultural norms. Students will have explore Asian cultures, geographies, histories, biweekly individual conferences to discuss their societies, and religions. Visual and performing arts independent research projects. On alternate weeks, are included in the Asian studies curriculum. Faculty, we will have group activities that will include trained in languages of their areas, draw on research and writing workshops and field trips. extensive field xperience e in Asia. Their courses bridge humanities, social sciences, and global studies. THE CURRICULUM 15 Making Modern East Asia: Empires Japan are deeply indebted to their own domestic and Nations, 1700-2000 imperialisms, albeit in very different ways. Relying on a wide range of course materials (historical Kevin Landdeck scholarship, paintings, lithographs, photographs, Open, Seminar—Year literature, and relevant primary sources), this course This yearlong seminar is a sustained look at the is an intensive investigation of the contours of Asian recent history of China and Japan, the major imperialism, covering the colonialism of the Qing countries within East Asia. Placed alongside each dynasty (1644-1911), the aggressive Western other, the often wrenching history of Japan and expansion in the 19th century, and the Japanese China over the past three centuries raises important Empire (1895-1945). We will ask what features (if historical themes of Asian modernity, questioning any) these very different empires shared and what both its sources and how we define it. Often set them apart from each other? How and why were portrayed as a direct import from the West in the Asian empires built, how did they end, and what 19th century, we will ask whether modernity might legacies did they leave? We will excavate the multi- instead be traced to legacies of Japan’s isolationist ethnic Qing imperium for how it complicates China’s feudalism under the Tokugawa Shogunate patriotic master narrative. Does Qing ethnic policy (1603-1867) and China’s multiethnic Manchu dynasty toward native Miao tribes differ from Western (1644-1911) even as we acknowledge the far- powers’ Civilizing Discourse? What are the legacies reaching impact of Euro-American imperialism. For of Qing colonialism for China’s modern nation-state? example, did the evolving samurai culture of the The Qing campaigns to subjugate the Mongols in the Tokugawa era lay a socioeconomic foundation for northwest and the colonization of the untamed Japan’s political and economic modernity in the late southwest both predated the arrival of Westerners 19th century? And did deep changes in Qing China and the Opium War (1839-42). How does that impact society destabilize the dynastic balance of power as our understanding of the clash between China and early as the 18th century? Both China and Japan the rapidly expanding West? We will trace earlier have entrenched master narratives that portray academic views on the classic confrontation themselves as victims of the West, but we will also between these two presumed entities before investigate the contours of Asian imperialism. How examining more recent revisionist formulations on and why were their empires built, and how did they the Western penetration of China. What were the end? How were the nation-states we now call China processes of Western intrusion, and how did Western and Japan formed. and how was nationalism imperialism come to structure knowledge of China? constructed (and reconstructed) in them? What role And finally, we will turn to the Japanese Empire. did socioeconomic, cultural, and international crises What were its motivations, its main phases, and its play in fueling nationalist sentiments? How and contradictions? Should we understand it as similar where was radicalism (of various forms, including to Western imperialism or, as an alternative, Maoism) incubated? The impact of war, preparing something unique? What are the implications of for it, waging it, and rebuilding in its wake will be a both those positions? To understand the Japanese repeated theme, too. And finally, we will look at empire in both its experiential and theoretical Asia’s economic dynamism, covering both Japan’s dimensions, we will range widely across Japan’s post-World War II capitalism (and its roots in the possessions in Taiwan, Korea, and Manchuria. The wartime imperialist project) and China’s transition questions and topics in this seminar will complicate to a market economy. Course readings consist of the master narratives that prevail in both East Asia historical scholarship regularly punctuated by and the West, not to delegitimize or subvert Asian primary sources, documents, fiction, and some film. sovereignties but, rather, to understand the deeply embedded narratives of imperialism within those Asian Imperialisms, 1600-1953 sovereign claims and to see how those narratives Kevin Landdeck (and their blind spots) continue to frame and Open, Seminar—Fall support policies and attitudes today. East Asia, like much of the globe, has been powerfully shaped by the arrival, presence, and Law and Popular Culture in Pre- activity of imperialist power in the region. In fact, in Modern China both China and Japan, nationalism is founded on Ellen Neskar resistance to the encroachments of Western Open, Seminar—Fall imperialism. Both nations cast themselves as This course will offer a three-part approach to the victims to the rapacious West. And yet, often study of law in pre-modern China, focusing on legal unnoticed by patriots and pundits, both China and 16 Asian Studies theory, courts and the implementation of law, and writers, including Salman Rushdie and Arundhati the relationship between law and popular culture. Roy. Film narratives are included. We apply The first part of the oursec will provide an overview interdisciplinary critical inquiry as we pursue a of the philosophical basis of law, the state’s literature that shifts increasingly from narrating the development of civil and penal law codes, and its nation to narrating its diasporic fragments in creation of courts and judicial institutions. The transnational contexts. second part will look more closely at the application of the law code to criminal cases in the medieval Mainland Chinese Cinema, Culture, period. Here, we will study case books and judicial judgments, precedent texts, magistrates’ manuals, and Identity From 1949 to the forensic guidelines, and journal accounts. Topics Present that we will examine include: the role and function Michael Cramer, Kevin Landdeck of local judges, the processes by which penal cases Open, Joint seminar—Spring were judged and punishments determined, and the This seminar course will examine both the historical rights and obligations of the various parties in a and cultural context of mainland Chinese cinema legal suit. The third part of the course will examine from 1949 to the present. The course will be focused the ways in which the judicial system both on full-length feature films rf om the People’s influenced and was influenced by popular culture. Republic of China, providing an eclectic mix of Our readings will include religious tracts, folktales, movies covering socialist propaganda of the high and popular fiction. opicsT will include the ways in Maoist period (1949-76), the critical stances of the which the court system shaped popular notions of “Fifth Generation” (of graduates from the Beijing justice, karma, and revenge; the contribution of the Film Academy) in the 1980s and early 1990s, the legal system to increasingly complicated notions of more entertainment-focused films of post-Deng heaven and hell; and the rise of popular “detective” (2000s) China, as well as contemporary art films fiction entc ered on the courtroom and judges. that are largely seen outside of the commercial exhibition circuit. This wide variety of films will open Writing India: Transnational up questions of cinematic representations of Chinese identity and culture in at least four major Narratives modes: socialist revolutionary (1949-76), critical Sandra Robinson reflections on China’s past and the evr olution Open, Seminar—Fall (1982-1989), what one might call neoliberal The global visibility of South Asian writers has entertainment (1990-present), and the more changed the face of contemporary English literature. underground art cinema that has emerged as Many writers from the Indian subcontinent continue mainstream Chinese cinema has become to narrate tumultuous events surrounding the 1947 increasingly commercial. Along with the close partition of India and Pakistan at the end of British analysis of films (their narrative structure, colonial rule. Their writings narrate legacies and audiovisual language, relationship to other films utopian imaginings of the past in light of current from both China and beyond), the course will deal images that range from dystopian visions to with Confucian legacies in Chinese society, optimistic aspirations. The seminar addresses communist revolutionary spasms and the censorship themes of identity, fragmentation, hybridity, system, and the more open market and ideology of memory, and alienation. These themes link South the post-Mao reform era. Assigned readings will be Asian literary production to postcolonial writing from varied, as well. Several key movies will be paired varied cultures of Asia, Africa, and Latin America. with their textual antecedents (e.g., LU Xun’s New Accounts of South Asian communal violence (Hindu Year’s Sacrifice will be read alongside HU Sang’s by and Muslim fundamentalisms, caste and class the same title, while LI Zhun’s The Biography of LI conflicts) eflectr intersectional issues and global Shuangshuang will accompany the 1962 movie that urgencies. The cultural space of India has been followed). Appropriate readings will cover important repeatedly transformed and redeployed according to historical background in some detail; for example, varied cultural projects, political interests, and the Great Leap Forward (1959-62) and the Cultural economic agendas. After briefly onsideringc Revolution (1966-76) are both crucial events for representations of India in ancient chronicles of understanding the revolutionary experience, while Chinese, Greek, and Persian travelers, we explore the latter is particularly relevant for its impact on modern constructions of India in excerpts from reform-era filmmakers. Other readings will focus writers of the British Raj. Our major focus is on India specifically on cinema, ranging from broad historical as remembered and imagined in selected works of overviews on the material/financial onditionsc of THE CURRICULUM 17 production, distribution, and exhibition; close images previously established during the British Raj. analyses of individual films; the transition from Highlighting previously unexposed impressions, such socialist to postsocialist cinema and the works inevitably supplement, usually challenge, and construction of “Chineseness” as a object for the frequently undermine traditional accounts Western gaze to the avant-garde/independent underwritten by imperialist interests. Colonial and responses to the current global/commercial Chinese orientalist discourses depicted peoples of the Indian cinema. This course is an open superseminar subcontinent both in terms of degradation and in (capped at 30 students), meeting once a week for terms of a romance of empire, thereby rationalizing two and half hours in order to facilitate in-depth various economic, political, and psychological discussions of paired material; for example, two agendas. The external invention and deployment of movies or a movie and significant historical texts the term “Indian” is emblematic of the epoch, with (either primary or secondary). In addition to this colonial designation presuming to reframe weekly class time, there will be required screenings indigenous identity. Postcolonial writers and artists of film (one or two per week). Students will be are now renegotiating identities. What does it mean divided evenly between the two professors for to be seen as an Indian? What historical claims are conferences, using the regular model of biweekly implicit in allegories of ethnicity, linguistic region, meetings. and nation? How do such claims inform events taking place today, given the resurgence of Hindu Virtue and the Good Life: Ethics in fundamentalism? For this seminar on the semiotics and politics of culture, sources include works by Classical Chinese Philosophy influential South Asian writers, photographers, and Ellen Neskar filmmakers. Open, Seminar—Spring This course centers on the close, detailed reading of a small number of foundational texts in classical Sacrifice Confucianism and Taoism. Our focus will be to Sandra Robinson explore how these texts might fit “virtue ethics,” Sophomore and above, Seminar—Fall which emphasizes moral character and the pursuit This seminar explores themes of sacrifice in of a worthwhile life. Some attention will be paid to classical Indian and Western traditions. After other forms of ethics, including those that stress exploring case studies from ancient India and either the adherence to duties and obligations or the Greece, we analyze survivals of classical sacrifice in social consequences of ethical action. Our primary contemporary literature and cinema. Sacrificial goal, however, will be to examine the ways in which practices bridge religious, political, and economic classical Chinese philosphers regarded personal aspects of culture. The sacrifice of a scapegoat virtues and “good character” as both a prerequisite channels violence and legitimizes acts of killing or to and an explanation of appropriate action and its destruction in order to serve social interests of consequences. Among the more specific opicst that surrogacy and catharsis. As sacrament, sacrifice we will explore are: ideal traits of virtue, the links represents transformational mystery. As ceremonial between moral values and different understandings exchange, it facilitates negotiations of status, of human nature, the pyschological structures of observance of boundaries, and the redistribution of virtue, practices leading to the cultivation of virtue, goods. In specific cultural settings, sacrifice the roles of family and friendship in developing functions as celebration, as a manifestation of moral values, and what constitutes a good life. goodwill, as insurance, and/or as a source of communion. Seminar topics include: offerings, gift exchange, fasting and feasting, the warrior ethic, Images of India: Text/Photo/Film victimization and martyrdom, bloodletting and Sandra Robinson scarification, asceticism, and renunciation. The Open, Seminar—Spring seminar addresses the politics of sacrifice and This seminar addresses colonial and postcolonial scapegoating through critical inquiry and case representations of India. For centuries, India has studies of the targeting of ethnic scapegoats, sati been imagined and imaged through the lens of (widow murder/suicide), court and prison rituals, orientalism. In recent decades, writers and visual gender bullying, and charity—including service artists from India, Pakistan, and Bangladesh have tourism. Primary texts include Hindu myths and rites, been actively engaged in reinterpreting the British selected Greek tragedies, Akedah paintings, the colonial impact on South Asia. Their work presents Roman Catholic Eucharist liturgy, and selected sensibilities of the colonized in counternarration to 18 Biology contemporary short stories and films. eadingsR are Asian Imperialisms, 1600-1953 (p. 74), Kevin drawn from anthropology, literature, comparative Landdeck History religions, and cultural studies. Making Modern East Asia: Empires and Nations, 1700-2000 (p. 73), Kevin Landdeck History Hindu Iconography and Ritual Japanese I (p. 84), Sayuri I. Oyama Japanese Japanese II (p. 84), Chieko Naka Japanese Sandra Robinson Japanese III/IV (p. 84), Izumi Funayama Japanese Sophomore and above, Seminar—Spring Global Queer Literature: Dystopias and Hope (p. 86), This seminar explores symbols, signs, images, and Shoumik Bhattacharya Lesbian, Gay, Bisexual, icons associated with Hindu rituals and mythology. and Transgender Studies After an introduction to semiotics, we study diverse Japanese Diary Literature, Essays, and the “I” Hindu festivals, including: 1) observances based on Novel (p. 94), Sayuri I. Oyama Literature lunar and solar calendars, 2) life-cycle sacraments, Reading Ōe Kenzaburō and Murakami Haruki (p. 96), and 3) occasional ceremonies that occur due to Sayuri I. Oyama Literature special circumstances. Occasional ceremonies range Cross-Cultural Listening (p. 106), Niko Higgins Music from personal healing rites to communal rituals Virtue and the Good Life: Ethics in Classical Chinese performed for relief from droughts, floods, amines,f Philosophy (p. 118), Ellen Neskar Philosophy and epidemics. By examining popular festivals, First-Year Studies: The Buddhist Philosophy of feasts, and fasts, we analyze the multisensory Emptiness (p. 143), T. Griffith Foulk Religion modes of expression used in Hindu observances. The Buddhist Tradition in East Asia (p. 144), Music, chants, and recitations coincide with T. Griffith Foulk Religion mandala designs, scroll paintings, dance, and The Buddhist Tradition in India, Tibet, and Southeast dramas to signify the message of each ceremony. Asia (p. 144), T. Griffith Foulk Religion Because Hindu myths and rites are so numerous and Changing Places: Sociospatial Dimensions of elaborate, students gain an understanding that is Urbanization (p. 151), Shahnaz Rouse Sociology helpful in analyzing festivals and ceremonial Travel and Tourism: Economies of Pleasure, Profit, practices cross-culturally. Readings and viewings are and Power (p. 153), Shahnaz Rouse Sociology drawn from anthropology, comparative religions, and Nonfiction Writing Seminar: Mind as Form: The cultural studies. Essay, Personal and Impersonal (p. 184), Vijay Seshadri Writing Other courses of interest are listed below. Full Nonfiction orkW shop: To Tell the Truth (p. 183), descriptions of the courses may be found under the Suzanne Gardinier Writing appropriate disciplines.

How Things Talk (p. 5), Aurora Donzelli Anthropology Language and Capitalism (p. 7), Aurora Donzelli BIOLOGY Anthropology On Whiteness: An Anthropological Exploration (p. 6), Biology is the study of life in its broadest sense, Mary A. Porter Anthropology ranging from topics such as the role of trees in Beginning Chinese (p. 25), Fang-yi Chao Chinese affecting global atmospheric carbon dioxide down to Intermediate Chinese (p. 25), Fang-yi Chao Chinese the molecular mechanisms that switch genes on and Indian Cinemas (p. 44), Priyadarshini Shanker Film off in human brain cells. Biology includes a History tremendous variety of disciplines: molecular biology, Introduction to Animation Studies (p. 43), Jason immunology, histology, anatomy, physiology, Douglass Film History developmental biology, behavior, evolution, ecology, Food, Agriculture, Environment, and and many others. Because Sarah Lawrence College Development (p. 61), Joshua Muldavin faculty members are broadly trained and frequently Geography teach across the traditional disciplinary boundaries, Introduction to Development Studies: The Political students gain an integrated knowledge of living Ecology of Development (p. 63), Joshua things—a view of the forest, as well as the trees. Muldavin Geography In order to provide a broad introduction and The Geography of Contemporary China: A Political foundation in the field of biology, a number of Ecology of Reform, Global Integration, and Rise courses appear under the designation General to Superpower (p. 62), Joshua Muldavin Biology Series. Each of these open-level, semester- Geography long courses have an accompanying lab component. Students may enroll in any number of the General THE CURRICULUM 19

Biology Series courses during their time at Sarah semester by examining how those principles relate Lawrence and in any order, although it is strongly to the mechanisms of evolution. Throughout the recommended that students begin with General semester, we will discuss the individuals responsible Biology Series: Genes, Cells, and Evolution in the fall for major discoveries, as well as the experimental semester. Completion of any two General Biology techniques and process by which such advances in Series courses fulfills the minimum biology biological understanding are made. Classes will be curriculum requirements for medical school supplemented with weekly laboratory work. admission. These courses typically meet the prerequisite needs for further intermediate- and Drugs and the Brain advanced-level study in biology, as well. Cecilia Phillips Toro First-Year Studies: The Brain Open, Lecture—Fall The nervous system is the ultimate target of many According to Oliver Sacks drugs: those taken to alleviate pain, to increase Cecilia Phillips Toro pleasure, or to transform perceptions. We will focus Open, FYS—Year on the neuronal targets and mechanisms of Dr. Oliver Sacks was a prominent neurologist and psychoactive drugs, including which prolific writer who considered the workings of the neurotransmitter systems they modulate. We will brain through the lens of observing and diagnosing consider stimulants, depressants, narcotics, patients, including himself. Sacks communicated the analgesics, hallucinogens, and psychotherapeutics. marvels of the brain to the public through his Drug use cannot be fully explained, however, by engaging and remarkable stories of neurological simply identifying the neuronal proteins with which dysfunction and his musings on intriguing and drugs interact. In order to gain a more poorly-understood topics in neuroscience. We will comprehensive understanding of drug use and study the awesome brain in health and disease abuse, we will explore the social, political, economic, through Sacks’ writings, accompanied by readings and genetic factors that influence drug and various media—including a number of consumption—both legal and illegal—and drug films—that omplementc and expand upon Sacks’ epidemics, including the current opioid epidemic in descriptions of brain function. Topics will likely the United States. We will learn about drug sources, include: vision, blindness, and prosopagnosia (aka forms, and methods of use while exploring what is face-blindness, from which Sacks himself suffered); known about the biological basis of tolerance, speech, audition, music, and deafness; religion, cravings, withdrawal, and the disease of addiction. spirituality, out-of-body experiences, and Finally, we will explore the neurobiological hallucinations; autism and Asperger’s syndrome; mechanisms of currently available treatments for Tourette’s syndrome; neurodegenerative diseases drug overdose and addiction. like Parkinson’s and Alzheimer’s; memory, amnesia, and the perception of time. Individual conference meetings will alternate biweekly with small-group Introduction to Genetics conference meetings. Faculty TBA Open, Seminar—Fall Genetics is the study of the basic unit of all life: General Biology Series: Genes, genes. Genes are composed of DNA, intricately Cells, and Evolution packaged in structures called chromosomes that Drew E. Cressman ultimately encode proteins that are key for the Open, Lecture—Fall normal development and homeostasis of all of the Biology, the study of life on Earth, encompasses cellular and molecular processes in the cell. These structures and forms ranging from the very minute processes are crucial to maintain the optimal to the very large. In order to grasp the complexities function of all of the organs and systems that of life, we begin this study with the cellular and comprise the human body. Changes such as molecular forms and mechanisms that serve as the mutations in genes can lead to a plethora of defects foundation for all living organisms. The initial part of and, hence, diseases and disorders. This course will the semester will introduce the fundamental introduce not only the amazing variety and diversity molecules critical to the biochemistry of life found in life due to the changes at the genetic level processes. From there, we branch out to investigate but also how many of those genetic changes are the major ideas, structures, and concepts central to responsible for numerous disease states, as well. We the biology of cells, genetics, and the chromosomal will learn about and discuss the basic molecular basis of inheritance. Finally, we conclude the mechanisms that determine heredity, such as 20 Biology mitosis and meiosis, leading into Mendelian and seek to understand the use and limitations of genetics, various kinds of mutations, population and such information in the legal sphere. Beginning with evolutionary genetics. We will also introduce and the historical development of forensic biology, discuss some of the exciting genetic techniques that selected topics will likely include death and stages present great promise to increase our ability to of decomposition; determination of postmortem further explore the vast treasure chest of intervals; the role of microorganisms in information that lies in our genes. Classes will be decomposition; vertebrate and invertebrate supplemented with weekly laboratory work. scavenging; wound patterning; urban mummification; biological material collection and General Biology Series: Ecology storage; victim and ancestral identification by genetic analysis; the use of DNA databases such as Michelle Hersh CODIS; and the biological basis of other criminalistics Open, Seminar—Fall procedures, including fingerprinting and blood type Ecology is a scientific discipline that studies analysis. Finally, we will consider DNA privacy and US interactions between living organisms and their Supreme Court rulings, including the 2013 decision environments, as well as processes governing how Maryland v. King, which established the right of law species are distributed, how they interact, and how enforcement to take DNA samples from individuals nutrients and energy cycle through ecosystems. arrested for a crime. In all of these areas, the Ecologists might ask questions about how plant techniques and concepts employed are derived from growth responds to climate change, how squirrel some of the most fundamental principles and population size or behavior changes in response to structure/function relationships that underlie the acorn availability, or how nutrients like nitrogen and entire field of biology. No background in biology is phosphorous cycle in rivers and streams. In this required; indeed, a primary objective of this course is course, students will develop a strong foundational to use our exploration within the framework of understanding of the science of ecology at the forensic biology as a means to develop a broader and individual, population, community, and ecosystem more thorough understanding of the science of scales. Throughout the course, emphasis will be biology. placed on how carefully designed experiments and data analysis can help us find predictable patterns despite the complexity of nature. Students will be General Biology Series: Anatomy expected to design and carry out a field xperimente and Physiology in small groups. The course will include a weekly lab Beth Ann Ditkoff section, with most labs held outdoors at local parks Open, Seminar—Spring and field stations. Anatomy is the branch of science that explores the bodily structure of living organisms, while physiology Forensic Biology is the study of the normal functions of those organisms. In this course, we will explore the human Drew E. Cressman body in both health and disease. Focus will be placed Open, Seminar—Spring on the major body units, such as skin, skeletal, From hit television shows such as CSI, Bones, and muscular, nervous, endocrine, cardiovascular, Forensic Files to newspaper headlines that respiratory, digestive, urinary, and reproductive breathlessly relate the discovery of a murder systems. By emphasizing concepts rather than the victim’s remains...and to Casey Anthony, JonBenet memorization of facts, we will make associations Ramsey, and other real-life cases, it is clear that the between anatomical structures and their functions. world of forensic science has captured the public The course will have a clinical approach to health imagination. Forensic science describes the and illness, with examples drawn from medical application of scientific knowledge to legal problems disciplines such as radiology, pathology and surgery. and encompasses an impressively wide variety of A final onfc erence paper is required at the subdisciplines and areas of expertise, ranging from conclusion of the course; the topic will be chosen by forensic anthropology to wildlife forensics. In this each student to emphasize the relevance of course, we will specifically focus on the realm of anatomy/physiology to our understanding of the forensic biology—the generation and use of legally human body. relevant information gleaned from the field of biology. In an effort to move beyond sensationalism and the way forensic biology is portrayed in the public media, we will explore the actual science and techniques that form the basis of forensic biology THE CURRICULUM 21 Evolutionary Biology Particular emphasis will be given to the role of microbes that cause infectious disease in humans Michelle Hersh and microbes that play critical roles in ecological Open, Seminar—Spring processes. Seminars will be supplemented by a What biological processes led to the development of weekly lab section to learn key microbiological the incredible diversity of life that we see on Earth techniques and methods, most notably culturing and today? The process of evolution, or a change in the identifying bacteria. Prerequisite: successful inherited traits in a population over time, is completion of General Biology Series: Genes, Cells, fundamental to our understanding of biology and the and Evolution or permission of the instructor. history of life on Earth. This course will introduce students to the field of evolutionary biology. We will interpret evidence from the fossil record, molecular Neurobiology genetics, systematics, and empirical studies to Cecilia Phillips Toro deepen our understanding of evolutionary Intermediate, Seminar—Spring mechanisms. Topics covered include the genetic The brain is our most complex organ. The human basis of evolution, phylogenetics, natural selection, brain contains a hundred billion neurons whose adaptation, speciation, coevolution, and the functions underlie our remarkable capacities, evolution of behavior and life-history traits. including the ability to sense our environment, communicate via language, learn and remember, Cell Biology perform precise movements, and experience emotions. In this introduction to neurobiology, we Drew E. Cressman will focus on the structure and function of the Intermediate, Seminar—Fall nervous system, considering molecular, cellular, Cells are the most basic unit of life on the planet. All systems, and cognitive perspectives. We will learn life forms are simply conglomerations of cells, how the nervous system develops and how the major ranging from the individual bacterial cells to the cells of the nervous system—neurons and higher order plants and animals. Humans, glia—function. We will examine the chemical and themselves, are made up of trillions of cells. So what electrical modes of communication between exactly is a cell? What is it made of? How does it neurons, with a focus on the action potential and function? In a complex organism, how do cells neurotransmission. We will consider the major communicate with one another and coordinate their subdivisions of the brain and how those regions activities? How do they regulate their growth? What control neural functions, including learning and role do genes play in controlling cellular function? memory, emotion, language, sleep, movement, and This course will address these questions and sensory perception. Finally, we will study disorders introduce the basic biology of cells while keeping in of the nervous system and consider how they inform mind their larger role in tissues and organs. If we our understanding of healthy brain function. can understand the structures and functions of the individual cells that serve as the subunits of larger organisms, we can begin to understand the Virology biological nature of humans and other complex life Drew E. Cressman forms. Advanced, Seminar—Spring Viruses are some of the smallest biological entities Microbiology found in nature—yet, at the same time, perhaps the most notorious. Having no independent metabolic Michelle Hersh activity of their own, they function as intracellular Intermediate, Seminar—Spring parasites, depending entirely upon infecting and Humans are bathing in a sea of microbes. Microbes interacting with the cells of a host organism to coat our environments, live within our bodies, and produce new copies of themselves. The effects on perform functions both beneficial and detrimental to the host organism can be catastrophic, leading to human well-being. This course will explore the disease and death. HIV has killed more than 39 biology of microorganisms, broadly defined as million people since its identification and infected bacteria, archaea, viruses, single-celled eukaryotes, twice that number. Ebola, West Nile virus, herpes and and fungi. We will study microbes at multiple scales, pox viruses...are all well-known viruses yet shrouded including the individual cell, the growing population, in fear and mystery. During the course of this and populations interacting with one another or semester, we will examine the biology of viruses, their environments. Microbial physiology, genetics, discussing their physical and genetic properties, diversity, and ecology will be covered in depth. their interaction with host cells, their ability to 22 Chemistry commandeer the cellular machinery for their own CHEMISTRY reproductive needs, the effects of viral infection on host cells, and finally how viruses and other subviral Chemistry seeks to understand our physical world on entities may have originated and evolved. In an atomic level. This microscopic picture uses the addition, we will examine how viruses have been elements of the periodic table as building blocks for portrayed in literature, with readings that include a vast array of molecules, ranging from water to Laurie Garrett’s The Coming Plague and Richard DNA. But some of the most fascinating aspects of Preston’s The Hot Zone. chemistry involve chemical reactions, where molecules combine and transform—sometimes Other courses of interest are listed below. Full dramatically—to generate new molecules. descriptions of the courses may be found under the Chemistry explores many areas of our physical appropriate disciplines. world, ranging from our bodies and the air that we breathe to the many products of the human General Chemistry I: An Introduction to Chemistry endeavor and including art and a plethora of and Biochemistry (p. 22), Colin D. Abernethy consumer products. Students at Sarah Lawrence Chemistry College may investigate these diverse areas of General Chemistry II: An Introduction to Chemistry chemistry through a variety of courses: Atmospheric and Biochemistry (p. 23), Colin D. Abernethy Chemistry, Environmental Chemistry, Nutrition, Chemistry Photographic Chemistry, and Extraordinary Nutrition (p. 23), Mali Yin Chemistry Chemistry of Everyday Life, to name a few. In Organic Chemistry I (p. 24), Mali Yin Chemistry addition to these courses, the College routinely Organic Chemistry II (p. 24), Mali Yin Chemistry offers General Chemistry, Organic Chemistry, and The Chemistry of Everyday Life (p. 23), Mali Yin Biochemistry to provide a foundation in the theories Chemistry central to this discipline. Transition Metal Chemistry (p. 24), Colin D. Just as experimentation played a fundamental Abernethy Chemistry role in the formulation of the theories of chemistry, An Introduction to Statistical Methods and experimentation plays an integral part in learning Analysis (p. 100), Daniel King Mathematics them. Therefore, laboratory experiments Calculus I: The Study of Motion and Change (p. 101), complement many of the seminar courses. Philip Ording Mathematics Calculus II: Further Study of Motion and Change (p. 102), Philip Ording Mathematics General Chemistry I: An Introduction to Mechanics (General Physics Without Introduction to Chemistry and Calculus) (p. 121), Alejandro Satz Physics Biochemistry Memory Research Seminar (p. 139), Elizabeth Colin D. Abernethy Johnston Psychology Open, Lecture—Fall Mindfulness: Neuroscientific and Psychological This course is the first part of a two-semester Perspectives (p. 133), Elizabeth Johnston sequence that provides a broad foundation for the Psychology scientific discipline of chemistry, introducing its Principles of Psychology (p. 135), Elizabeth Johnston fundamental principles and techniques and Psychology demonstrating the central role of chemistry in “Sex Is Not a Natural Act”: Social Science biology and medicine. We first look at basic Explorations of Human Sexuality (p. 130), descriptions of elemental properties, the periodic Linwood J. Lewis Psychology table, solid and molecular structures, and chemical The Social Brain (p. 133), Alison Jane Martingano bonding. We then relate these topics to the Psychology electronic structure of atoms. The mole as a unit is Drawing From Nature (p. 176), Gary Burnley Visual introduced so that a quantitative treatment of and Studio Arts stoichiometry can be considered. After this Look at You: The Portrait (p. 177), Gary Burnley Visual introduction, we go on to consider physical and Studio Arts chemistry, which provides the basis for a The Body, Inside Out: Drawing and Painting quantitative understanding of (i) the kinetic theory Studio (p. 171), John O’Connor Visual and Studio of gases (which is developed to consider the nature Arts of liquids and solids); (ii) equilibria and the concepts First-Year Studies: Ecopoetry: Poetry in Relation to of the equilibrium constant and of pH; (iii) energy the Living World (p. 179), Marie Howe Writing changes in chemical reactions and the fundamental principles of thermodynamics; (iv) the rates of THE CURRICULUM 23 chemical reactions and the concepts of the rate- course is on understanding the everyday use of determining step and activation energy. Practical chemistry. We will introduce chemistry concepts work in the laboratory periods of this course using everyday examples, such as household introduces the use and handling of basic chemical chemicals and gasoline, that illustrate how we equipment and illustrates the behavior of simple already use chemistry and reveal why chemistry is chemical substances. In addition to the two regular important to us. We will concentrate on topics of class meetings and laboratory session each week, current interest, such as environmental pollution there will be an hour-long weekly group conference. and the substances that we use in our daily lives This lecture course will be of interest to students that affect our environment and ourselves. interested in the study of chemistry or biology and to those planning on a career in medicine and related Nutrition health. Mali Yin Open, Seminar—Spring General Chemistry II: An Nutrition is the sum of all interactions between Introduction to Chemistry and ourselves and the food that we consume. The study Biochemistry of nutrition includes the nature and general role of Colin D. Abernethy nutrients in forming structural material, providing Intermediate, Lecture—Spring energy, and helping to regulate metabolism. How do This course is the second part of a two-semester food chemists synthesize the fat that can’t be sequence that provides a broad foundation for the digested? Can this kind of fat satisfy our innate scientific discipline of chemistry, introducing its appetite for fats? Are there unwanted side effects, fundamental principles and techniques and and why? What constitutes a healthy diet? What are demonstrating the central role of chemistry in the consequences of severely restricted food intake biology and medicine. The course begins with a seen in a prevalent emotional disorder such as review of the important concepts discussed in anorexia and bulimia? These and other questions General Chemistry I. The main types of organic will be discussed. We will discuss the effects of compounds are then introduced by reference to development, pregnancy, emotional state, and simple systems and to specific ompoundsc of disease on nutritional requirements. We will also industrial, biological, and medical importance. The consider the effects of food production and more important reactions of each of these types are processing on nutritional value and food safety. described and explained in terms of the structure of the functional groups involved. We go on to explore Spectroscopy and Chemical the chemical basis of life, the essential molecular Structure Determination components of biological cells, and the essential Colin D. Abernethy chemical processes that occur within them. The Intermediate, Seminar—Fall biological roles of amino acids, proteins, Every time a chemist conducts a reaction or isolates carbohydrates, and lipids are introduced. Practical a compound, his or her first askt is to identify the work in the laboratory periods of this course molecular structure of what has been made or introduces important chemical reactions and isolated. To help do this, chemists have a powerful common methods of chemical detection and array of modern instrumental techniques that are identification. In addition to the two regular class used to quickly and accurately determine the meetings and laboratory session each week, there structures of compounds. One of the most will be an hour-long weekly group conference. This challenging (and entertaining!) parts of chemistry is lecture course will be of interest to students to use the information obtained from these interested in the study of chemistry or biology and to techniques to assign structures to unknown those planning on a career in medicine and related compounds (a bit like Sherlock Holmes using clues to health. Prerequisite: General Chemistry I or solve a murder mystery). In this course, we focus on permission of the instructor. the three most widely used techniques: mass spectrometry, infrared spectroscopy, and nuclear The Chemistry of Everyday Life magnetic resonance spectroscopy. All of these Mali Yin techniques provide valuable information about the Open, Seminar—Fall structures of molecules, and all are used on a day-to- This course examines the chemistry of our everyday day basis by most chemists. In the laboratory, we will life—the way things work. The emphasis of this gain hands-on experience in a variety of one- and 24 Chemistry two-dimensional NMR techniques and infrared Transition Metal Chemistry spectroscopy. Once we have a sound understanding Colin D. Abernethy of each of those techniques, we will become Intermediate, Seminar—Spring chemical detectives and use the information that The transition metals include some of the most the techniques provide to solve chemical puzzles in familiar and important of all of the chemical order to elucidate the identities and structures of elements. In fact, the properties of the transition unknown molecules. Prerequisite: one semester of metals shape much of the world around us. For General Chemistry or General Physics. instance, iron and copper have been known since prehistoric times, and their use has influenced much Organic Chemistry I of human history. Nine of the transition metals are Mali Yin essential for life, as their atoms form the active sites Intermediate, Seminar—Fall of many key enzymes. Furthermore, compounds of Organic chemistry is the study of chemical transition metals—such as titanium, chromium, compounds whose molecules are based on a ruthenium, and iridium—are used as catalysts, framework of carbon atoms, typically in combination pigments, and advanced materials, while platinum with hydrogen, oxygen, and nitrogen. Despite this and technetium form the basis of powerful drugs rather limited set of elements, there are more known and medical imaging technologies. Due to their many organic compounds than there are compounds that uses and economic importance, the preparation of do not contain carbon. Adding to the importance of new transition metal compounds remains one of the organic chemistry is the fact that very many of the most active and exciting areas of modern chemical chemical compounds that make modern life research. This course will be devoted to an possible—such as pharmaceuticals, pesticides, exploration of the unique chemical, physical, and herbicides, plastics, pigments, and dyes—can be biological properties of the transition metals. classed as organic. Organic chemistry, therefore, Transition metal chemistry is one of the most impacts many other scientific subjects; and colorful fields of chemistry. In the laboratory section knowledge of organic chemistry is essential for a of the course, we will prepare many scientifically detailed understanding of materials science, important transition metal compounds and then environmental science, molecular biology, and observe and measure their properties. Prior study of medicine. This course gives an overview of the chemistry or permission of the instructor is required. structures, physical properties, and reactivity of organic compounds. We will see that organic Organic Chemistry II compounds can be classified into families of similar Mali Yin compounds based upon certain groups of atoms that Intermediate, Seminar—Spring always behave in a similar manner no matter what In this course, we will explore the physical and molecule they are in. These functional groups will chemical properties of additional families of organic enable us to rationalize the vast number of reactions molecules. The reactivity of aromatic compounds, that organic reagents undergo. Topics covered in this aldehydes and ketones, carboxylic acids and their course include: the types of bonding within organic derivatives (acid chlorides, acid anhydrides, esters, molecules; fundamental concepts of organic and amides), enols and enolates, and amines will be reaction mechanisms (nucleophilic substitution, discussed. We will also investigate the methods by elimination, and electrophilic addition); the which large, complicated molecules can be conformations and configurations of organic synthesized from simple starting materials. Modern molecules; and the physical and chemical properties methods of organic structural determination—such of alkanes, halogenoalkanes, alkenes, alkynes, and as mass spectrometry, 1H and 13C nuclear magnetic alcohols. In the laboratory section of the course, we resonance spectroscopy, and infrared will develop the techniques and skills required to spectroscopy—will also be introduced. In the synthesize, separate, purify, and identify organic laboratory section of this course, we will continue to compounds. Organic Chemistry is a key requirement develop the techniques and skills required to for pre-med students and is strongly encouraged for synthesize, separate, purify, and identify organic all others who are interested in the biological and compounds. Organic Chemistry II is a key physical sciences. Prerequisite: General Chemistry or requirement for pre-med students and is strongly its equivalent. encouraged for all others who are interested in the biological and physical sciences. Prerequisite: Organic Chemistry I THE CURRICULUM 25 Other courses of interest are listed below. Full Beginning Chinese descriptions of the courses may be found under the Fang-yi Chao appropriate disciplines. Open, Seminar—Year Abstract Algebra: Theory and Applications (p. 103), This course is designed for students who have no or Philip Ording Mathematics little knowledge of Chinese language. In this course, An Introduction to Statistical Methods and we will develop four language skills (speaking, Analysis (p. 100), Daniel King Mathematics listening, reading, and writing) through lesson Calculus I: The Study of Motion and Change (p. 101), learning and interactive communications. By the end Philip Ording Mathematics of the academic year, we will be able to conduct Calculus II: Further Study of Motion and daily conversations and read short passages on a Change (p. 102), Philip Ording Mathematics variety of topics at the level of intermediate-low. Electromagnetism and Light (Calculus-Based Chinese culture will also be explored and discussed. General Physics) (p. 121), Merideth Frey Physics Exploring the Universe: Astronomy and Intermediate Chinese Cosmology (p. 120), Alejandro Satz Physics Fang-yi Chao Introduction to Mechanics (General Physics Without Intermediate, Seminar—Year Calculus) (p. 121), Alejandro Satz Physics This course is designed for students who have Resonance and Its Applications (p. 121), Merideth finished one eary of Chinese or its equivalent. We will Frey Physics continue improving the Chinese language skills of First-Year Studies: Ecopoetry: Poetry in Relation to speaking, listening, reading, and writing. An the Living World (p. 179), Marie Howe Writing emphasis will be placed on communication and discussion in both conversational and written Chinese. By the end of the year, students will be able CHINESE to read some newspaper articles, stories, and essays and hold conversations on topics of daily life that The Chinese program includes beginning, extend into culture, arts, and politics. intermediate, and advanced courses that teach students to speak, read, write, and comprehend Advanced Chinese standard Chinese (Mandarin). The first-year class focuses on oral proficiency and grammar structures Fang-yi Chao and culminates in end-of-semester projects that Advanced, Seminar—Year draw on the students’ interests. Reading and writing This course is designed to develop students' is emphasized in the second-year class, as students language proficiency to the level of intermediate- are introduced to short stories, poetry, and film. high/advanced-low, as described by the American Student work in class and conference is Council of Teaching Foreign languages ( ACTFL), in all supplemented by weekly meetings with the four skills: listening, speaking, reading, and writing. language assistant and by the lunchtime Chinese Students will be exposed to a variety of issues in Table. Extracurricular activities include visits to contemporary Chinese society through authentic museums and excursions to New York City’s various material. Classroom activities include discussions, Chinatown neighborhoods. debates, and oral presentations. By the end of the Students of Chinese are strongly encouraged to year, students are expected to be able to express and spend a semester or, ideally, a year abroad at one of support personal opinions—using discourse several programs, such as Global Alliance, strategies in both writing and speaking—on topics Middlebury College, or Associated Colleges in China. covered in the course. These programs offer a range of experiences at different sites, including Beijing, Shanghai, Other courses of interest are listed below. Full Hangzhou, and Xian. descriptions of the courses may be found under the Students of Chinese language are encouraged appropriate disciplines. to enhance their curriculum with courses in history, Law and Popular Culture in Pre-Modern China (p. 15), philosophy, and literature taught through the Asian Ellen Neskar Asian Studies Studies department, as well as through religion and The Geography of Contemporary China: A Political geography. Ecology of Reform, Global Integration, and Rise to Superpower (p. 62), Joshua Muldavin Geography 26 Classics Comparative Literary Studies and Its Others (p. 94), Greek Tragedy: Electras (p. 118), Michael Davis Bella Brodzki Literature Philosophy The Buddhist Tradition in East Asia (p. 144), Introduction to Ancient Greek Religion and T. Griffith Foulk Religion Society (p. 146), Cameron C. Afzal Religion The Emergence of Christianity (p. 145), Cameron C. Afzal Religion First-Year Studies: Ecopoetry: Poetry in Relation to CLASSICS the Living World (p. 179), Marie Howe Writing Our World, Other Worlds (p. 180), Myra Goldberg Classics course offerings at Sarah Lawrence College Writing include Greek (Ancient) and Latin at the beginning, Poetry: What Holds the Unsayable (p. 186), Marie intermediate, and advanced levels, as well as Howe Writing literature courses in translation. Beginning language students acquire the fundamentals of Greek (Ancient) or Latin in one year and begin reading authentic texts. Intermediate and advanced students COGNITIVE AND BRAIN SCIENCE refine their language skills while analyzing specific ancient authors, genres, or periods. Classes from disciplines such as biology, computer Ancient Greek and Roman insights and science, mathematics, philosophy, and psychology discoveries originated Western culture and continue comprise the classes available within this cross- to shape the modern world. Ancient artists and disciplinary path. writers still inspire today’s great artists and writers. Greek and Roman ideas about politics, drama, Courses offered in related disciplines this year are history, and philosophy (to name just a few) broaden listed below. Full descriptions of the courses may be 21st-century perspectives and challenge 21st- found under the appropriate disciplines. century assumptions. Classical languages and Cell Biology (p. 21), Drew E. Cressman Biology literature encourage thoughtful, substantive Drugs and the Brain (p. 19), Cecilia Phillips Toro participation in a global, multicultural conversation Biology and cultivate skills necessary for coping with both First-Year Studies: The Brain According to Oliver failure and success. Because it is multidisciplinary, Sacks (p. 19), Cecilia Phillips Toro Biology classical literature adapts easily to students’ General Biology Series: Genes, Cells, and interests and rewards interdisciplinary study. Evolution (p. 19), Drew E. Cressman Biology Classics courses contribute directly to the College’s Neurobiology (p. 21), Cecilia Phillips Toro Biology unique integration of the liberal arts and creative Introduction to Genetics (p. 19) Biology arts, as developing writers and artists fuel their own Compilers (p. 29), Michael Siff Computer Science creative energies by encountering the work of Computer Organization (p. 28), Michael Siff ingenious and enduring predecessors. The study of Computer Science the classics develops analytical reading and writing Introduction to Computer Science: The Way of the skills and imaginative abilities that are crucial to Program (p. 27), James Marshall Computer individual growth and essential for citizens in any Science functioning society. The Middle East and the Politics of Collective Courses offered in related disciplines this year are Memory: Between Trauma and listed below. Full descriptions of the courses may be Nostalgia (p. 77), Matthew Ellis History found under the appropriate disciplines. An Introduction to Statistical Methods and Analysis (p. 100), Daniel King Mathematics Beginning Latin (p. 85), Laura Santander Latin Cultural Psychology of Development (p. 139), First-Year Studies: The Perils of Passion: Ancient Barbara Schecter Psychology Greek History for Today’s Troubled Memory Research Seminar (p. 139), Elizabeth Times (p. 89), Emily Katz Anhalt Literature Johnston Psychology Odyssey/Hamlet/Ulysses (p. 96), William Mindfulness: Neuroscientific and Psychological Shullenberger Literature Perspectives (p. 133), Elizabeth Johnston Ancient Philosophy (Aristotle) (p. 119), Michael Davis Psychology Philosophy Principles of Psychology (p. 135), Elizabeth Johnston First-Year Studies: The Origins of Philosophy (p. 116), Psychology Roy Ben-Shai Philosophy THE CURRICULUM 27

Speaking the Unspeakable: Trauma, Emotion, students also investigate how the discipline Cognition, and Language (p. 138), Emma intersects other fields of study, including Forrester Psychology mathematics, philosophy, biology, and physics. Theories of Development (p. 139), Barbara Schecter Psychology Introduction to Computer Science: Theories of the Creative Process (p. 137), Charlotte L. The Way of the Program Doyle Psychology James Marshall Remedies to Epidemics: Understanding Substances Open, Lecture—Fall That Can Heal or Harm (p. 134), David Sivesind This lecture course is a rigorous introduction to Psychology computer science and the art of computer Who am I? Clinical Perspectives on Psychology of programming, using the elegant, eminently the Self (p. 131), David Sivesind Psychology practical, yet easy-to-learn programming language Sleep and Health (p. 130), Meghan Jablonski Python. We will learn the principles of problem Psychology solving with a computer while gaining the Advanced Research Seminar (p. 139), Meghan programming skills necessary for further study in Jablonski , Elizabeth Johnston , Linwood J. Lewis the discipline. We will emphasize the power of Psychology abstraction and the benefits of clearly written, well- The Psychological Impact of Art (p. 135), Alison Jane structured programs, beginning with imperative Martingano Psychology programming and working our way up to object- The Social Brain (p. 133), Alison Jane Martingano oriented concepts such as classes, methods, and Psychology inheritance. Along the way, we will explore the Color (p. 177), Gary Burnley Visual and Studio Arts fundamental idea of an algorithm; how computers The Ideas of Photography (p. 176), Joel Sternfeld represent and manipulate numbers, text, and other Visual and Studio Arts data (such as images and sound) in binary; Boolean The New Narrative Photography (p. 176), Joel logic; conditional, iterative, and recursive Sternfeld Visual and Studio Arts programming; functional abstraction; file processing; and basic data structures such as lists and dictionaries. We will also learn introductory COMPUTER SCIENCE computer graphics, how to process simple user interactions via mouse and keyboard, and some What is computer science? Ask 100 computer principles of game design and implementation. All scientists, and you will likely receive 100 different students will complete a final programming project answers. One possible, fairly succinct answer is that of their own design. Weekly hands-on laboratory computer science is the study of algorithms: step- sessions will reinforce the concepts covered in class by-step procedures for accomplishing tasks through extensive practice at the computer. formalized into very precise, atomic (indivisible) instructions. An algorithm should allow a task to be The Computational Beauty of accomplished by someone who—or something that—does not even understand the task. In other Nature words, it is a recipe for an automated solution to a James Marshall problem. Computers are tools for executing Open, Lecture—Spring algorithms. (Not that long ago, a “computer” This course will explore the concepts of emergence referred to a person who computed!) and complexity within natural and artificial systems. What are the basic building blocks of Simple computational rules interacting in complex, algorithms? How do we go about finding algorithmic nonlinear ways can produce rich and unexpected solutions to problems? What makes an efficient patterns of behavior and may account for much of algorithm in terms of the resources (time, memory, what we think of as beautiful or interesting in the energy) that it requires? What does the efficiency of world. Taking this as our theme, we will investigate a algorithms say about major applications of computer multitude of topics, including: fractals and the science such as cryptology, databases, and artificial Mandelbrot set, chaos theory and strange attractors, intelligence? Computer-science courses at Sarah cellular automata such as Wolfram’s elementary Lawrence College are aimed at answering questions automata and Conway’s Game of Life, self-organizing such as those. Sarah Lawrence computer-science and emergent systems, formal models of computation such as Turing machines, artificial neural networks, genetic algorithms, and artificial life. The central questions motivating our study will 28 Computer Science be: How does complexity arise in Nature? Can time, researchers succeeded in building the first complexity be quantified and objectively measured? working quantum computers, albeit on a very small Can we capture the patterns of Nature as scale. Today the multidisciplinary field of quantum computational rules in a computer program? What is computing lies at the intersection of computer the essence of computation, and what are its limits? science, mathematics, physics, and engineering; it is Throughout the course, we will emphasize one of the most active and fascinating areas in mathematical concepts and computer science, with potentially far-reaching consequences experimentation rather than programming, using the for the future. This course will introduce students to computer as a laboratory in which to design and run the theory and applications of quantum computing simulations of complex systems and observe their from the perspective of computer science. Topics to behaviors. be covered will include bits and qubits, quantum logic gates and reversible computing, Deutsch’s Computational Number Theory algorithm, Grover’s search algorithm, Shor’s factoring algorithm, quantum teleportation, and Nick Rauh applications to cryptography. No advanced Open, Seminar—Spring background in physics, mathematics, or computer Number theory is one of the oldest and most programming is necessary beyond a basic familiarity beautiful fields of mathematics, and many of the with linear algebra. We will study the quantitative, ideas it has generated over the millennia are just mathematical theory of quantum computing in now becoming crucially important in the information detail but will also consider broader philosophical age. This course will serve as an introduction to questions about the nature of physical reality, as number theory, computer programming, and the well as the future of computing technologies. interplay between the two. Topics will include Prerequisite: Familiarity with linear algebra or divisibility, prime factorization, modular arithmetic, equivalent mathematical preparation. cryptography, and algorithms, with other topics selected based on class interest. We will spend some time formulating conjectures, generating evidence Computer Organization to support or disprove them, and attempting to prove Michael Siff the ones that seem true. We will also address Intermediate, Seminar—Fall algorithmic questions such as run-time efficiency This course investigates how computers are and compare and contrast different mathematical designed “underneath the hood” and how basic algorithms that theoretically achieve the same goal building blocks can be combined to make powerful but differ practically in consequential ways. machines that execute intricate algorithms. There are two essential categories of components in Quantum Computing modern computers: the hardware (the physical medium of computation) and the software (the James Marshall instructions executed by the computer). As Intermediate, Seminar—Fall technology becomes more complex, the distinction Physicists and philosophers have been trying to between hardware and software blurs. We will study understand the strangeness of the subatomic world why this happens, as well as why hardware as revealed by quantum theory since its inception designers need to be concerned with the way back in the 1920s; but it wasn't until the software designers write programs and vice versa. 1980s—more than a half-century after the Along the way, we will learn how computers work: development of the theory—that computer from higher-level programming languages such as scientists first began ot suspect that quantum Python and JavaScript, to system-level languages C physics might hold profound implications for and Java, down to the basic zeroes and ones of computing, as well, and that its inherent weirdness machine code. Topics include Boolean logic, digital- might possibly be transformed into a source of circuit design, computer arithmetic, assembly and immense computational power. This dawning machine languages, memory hierarchies, and realization was followed soon afterward by key parallel processing. Special attention will be given to theoretical and practical advances, including the the RISC architectures—now the world’s most discovery of several important algorithms for common general-purpose microprocessors. Time quantum computers that could potentially permitting, we will investigate the relationship revolutionize (and disrupt) the cryptographic between energy consumption and the rise of systems protecting practically all of our society’s electronic banking, commerce, telecommunications, and national security systems. Around the same THE CURRICULUM 29 multicore and mobile architectures. Permission of free grammars and the Chomsky hierarchy, type the instructor is required. Students should have at checking and type inference, contrasts between least one semester of programming experience. syntax and semantics, and graph coloring as applied to register allocation. Conference work will allow Data Structures and Algorithms students to pursue different aspects of compilers, such as compilation of object-oriented languages, James Marshall automatic garbage collection, compiler Intermediate, Seminar—Spring optimizations, just-in-time compilation, In this course, we will study a variety of data WebAssembly, and applications of compiler structures and algorithms that are important for the technology to natural-language translation. design of sophisticated computer programs, along Permission of the instructor is required. Students with techniques for managing program complexity. should have at least one semester of programming Throughout the course, we will use Java, a strongly experience and, preferably, some familiarity with typed, object-oriented programming language. computer organization. Topics covered will include types and polymorphism, arrays, linked lists, stacks, queues, priority queues, Other courses of interest are listed below. Full heaps, dictionaries, balanced trees, and graphs, as descriptions of the courses may be found under the well as several important algorithms for sorting, appropriate disciplines. searching, and manipulating structured data. We will also study some mathematical techniques for Abstract Algebra: Theory and Applications (p. 103), analyzing the efficiency of algorithms. The central Philip Ording Mathematics theme tying all of these topics together is the idea of Calculus I: The Study of Motion and Change (p. 101), abstraction and the related notions of information Philip Ording Mathematics hiding and encapsulation, which we will emphasize Calculus II: Further Study of Motion and throughout the course. Weekly lab sessions will Change (p. 102), Philip Ording Mathematics reinforce the concepts covered in class through Discrete Mathematics: Gateway to Higher extensive hands-on practice at the computer. Mathematics (p. 102), Daniel King Mathematics Students should have at least one semester of Classical Mechanics (Calculus-Based General programming experience in an object-oriented Physics) (p. 120), Merideth Frey Physics language such as Python, Java, or C++. Resonance and Its Applications (p. 121), Merideth Frey Physics Compilers 3D Modeling (p. 174), Shamus Clisset Visual and Studio Arts Michael Siff Advanced Interdisciplinary Studio II (p. 171), John Intermediate, Seminar—Spring O’Connor Visual and Studio Arts Compilers are often known as translators—and for Introduction to Digital Imaging (p. 173), Shamus good reason: Their job is to take programs written in Clisset Visual and Studio Arts one language and translate them to another Media Burn: Moving Image Installation in language (usually assembly or machine language) Practice (p. 175), Jenny Perlin Visual and Studio that a computer can execute. It is perhaps the ideal Arts meeting between the theoretical and practical sides of computer science. Modern compiler implementation offers a synthesis of: (1) language theory, how languages (both natural languages and DANCE programming languages) can be represented on and recognized by a computer; (2) software design and The Sarah Lawrence College dance program presents development, how practical software can be undergraduate students with an inclusive developed in a modular way—e.g., how components curriculum that exposes them to vital aspects of of one compiler can be connected to components of dance through physical, creative, and analytical another compiler to form a new compiler; and (3) practices. Students are encouraged to study broadly, computer architecture, understanding how modern widen their definitions of dance and performance, computers work. During the semester, we will write and engage in explorations of form and function. a program implementing a nontrivial compiler for a Basic principles of functional anatomy are at novel programming language (partly of our own the heart of the program, which offers classes in design). Topics we will cover along the way include modern and postmodern contemporary styles, the difference between interpreters and compilers, classical ballet, yoga, Feldenkrais: Awareness regular expressions and finite automata, context- Through Movement®, and African dance. 30 Dance Composition, improvisation, contact improvisation, flexibility, endurance, balance, musicality, and Laban motif, dance history, music for dancers, dance awareness in the dance setting. While the primary and media, teaching conference, classical Indian emphasis is placed on learning structured material, dance, lighting design/stagecraft, and performance improvisation and composition are incorporated to projects with visiting artists round out the program. support students’ growing engagement with dance Each student creates an individual program and as an art form. Students who have successfully meets with advisers to discuss overall objectives and completed this course will be prepared to enter progress. A yearlong series of coordinated Contemporary Practice I and/or Ballet I. This class is component courses, including a daily physical open to all interested participants, with no prior practice, constitute a Dance Third. In addition, all experience in dance required. students taking a Dance Third participate at least once each semester in movement training sessions Contemporary Dance Practices to address their individual needs with regard to strength, flexibility, alignment, and coordination, as Stuart Shugg , Paul Singh, Jennifer Nugent, Angie well as to set short- and long-term training goals. Pittman, Janet Charleston, Jodi Melnick A variety of performing opportunities for Component—Year undergraduate and graduate students are available In these classes, emphasis will be on the continued in both informal and formal settings. Although development of basic skills, energy use, strength, projects with guest choreographers are frequent, it and control relevant to the particular style of each is the students’ own creative work that is the center teacher. At all levels, attention will be given to of their dance experience at the College. In order to sharpening each student’s awareness of time and support the performance aspect of the program, all energy and to disciplining the body to move students are expected to participate in the technical rhythmically, precisely, and in accordance with aspects of producing concerts. sound anatomical principles. Intermediate and We encourage the interplay of theatre, music, advanced students will study more complex visual arts, and dance. Music Thirds and Theatre movement patterns, investigate somatic use, and Thirds may take dance components with the concentrate on the demands of performance. permission of the appropriate faculty. In the interest of protecting the well-being of Dance Practice Conference our students, the dance program reserves the right, Peggy Gould at our discretion, to require any student to be Component—Year evaluated by Health Services. Students taking a Dance Third will meet with the Prospective and admitted students are instructor for this component course at least once welcome to observe classes. per semester to address individual dance training issues and questions and to identify short- and long- Dance Movement Fundamentals term goals. Guided by discussion, we will develop Peggy Gould, Merceditas Mañago-Alexander practical strategies to address issues and questions Component—Year in the context of achieving goals by means of Movement and dancing are definitive signs of life! In specific supplemental exercises that address every environment and at every level of existence, strength, flexibility, kinesthetic awareness, from single-cell organisms to entire populations, coordination, and effective approaches to learning. dancing is innate to living beings. The objective here This course is designed to support and enhance is to awaken/reawaken students’ connection to students’ work in dance classes, rehearsals, and movement as an elemental mode of human performances. experience and learning. Students are introduced to some basic principles of dancing, as well as to African Diasporic Dance strategies for preparing for dancing. Building fundamental skills for a wide range of movement Faculty TBA studies, the focus is centered on learning movement Component—Year and refining individual, partnered, and group This yearlong course will use physical embodiment performance in a variety of patterns and styles. as a mode of learning about and understanding Basic anatomical information is used to facilitate an African diasporic cultures. In addition to physical understanding of dynamic alignment and movement practice, master classes led by artists and teachers potentials. Challenges in coordination, rhythm, regarded as masters in the field of African diasporic range, and dynamic quality are systematically dance and music, along with supplementary study engaged, allowing students to gain strength, materials, will be used to explore the breadth, THE CURRICULUM 31 diversity, history, and technique of dances derivative Gaga of the Africa diaspora. Afro Haitian, West African, LeeSaar The Company Orisha dances (Lucumi, Afro Cuban), and social Component—Spring dance are some genres that will be explored. Gaga is a new way of gaining knowledge and self- Participation in year-end showings will provide awareness through your body. Gaga provides a students with the opportunity to apply studies in a framework for discovering and strengthening your performative context. Students may enter this body and adding flexibility, stamina, and agility while yearlong course in the second semester with lightening the senses and imagination. Gaga raises permission of the instructor. awareness of physical weaknesses, awakens numb areas, exposes physical fixations, and offers ways for Ballet their elimination. The work improves instinctive Barbara Forbes, Megan Williams movement and connects conscious and unconscious Component—Year movement; it also allows for an experience of Ballet students at all levels will be guided toward freedom and pleasure in a simple way, in a pleasant creative and expressive freedom in their dancing, space, in comfortable clothes, accompanied by enhancing the qualities of ease, grace, musicality, music, each person with himself/herself and others. and symmetry that define this orm.f We will explore alignment, with an emphasis on anatomical Yoga principles; we will cultivate awareness of how to Patti Bradshaw enlist the appropriate neuromuscular effort for Component—Year efficient vmo ement; and we will coordinate all This asana yoga class is designed with dancers and aspects of body, mind, and spirit, integrating them theatre students’ interests in mind. Various harmoniously. Students may enter this yearlong categories of postures will be practiced with course in the second semester with permission of the attention to alignment, breath awareness, strength, instructor. and flexibility. Emphasis is placed on mindfulness and presence, an approach that allows students to Rotating Guest Artist Lab gain tools for reducing stress and addressing other Component—Year unsupportive habits to carry into other aspects of This course is an experimental laboratory that aims their lives. The instructor has a background in dance to expose students to a diverse set of current voices and theatre, in addition to various somatically-based and approaches to contemporary dance-making. practices that she draws upon for designing the Each guest artist will lead a module of three-to- classes to meet the needs of the class members. seven class sessions. These mini-workshops will This class draws upon an alignment-oriented introduce students to that artist and his/her practice, as opposed to a vinyasa style of yoga. creative process. Guests will represent emergent, as Additionally, this class introduces various well as established, practices. awareness-building practices borrowed from other body-oriented approaches. Hip-Hop Matthew Lopez Feldenkrais: Awareness Through Component—Fall Movement® This class is an open-level class in hip-hop dance. Barbara Forbes Depending on the instructor, it may include elements Component—Fall of breaking, popping, locking, etc. Class will begin Moshe Feldenkrais believed that rigidity—physical, with a warmup, leading to a high-energy mental, or emotional—is contrary to the laws of life. combination. While this class is intended for His system of somatic education develops students with some previous dance experience, no awareness, coordination, and flexibility as students prior experience in hip-hop or street dance is are verbally guided through precisely structured required. movement explorations. The lessons are done lying on the floor, sitting, or standing and gradually increase in range and complexity. Students practice bringing their full attention to their experience, self- generating the learning that will release habitual patterns and offer new options. Enhanced 32 Dance integration of the entire nervous system cultivates Somatics, Improvisations, and the the capacity for spontaneous, effortless movement Athletics of Intimacy and powerful action in life. K. J. Holmes Component—Fall Conditioning for Dancers This course will combine skills and applications of Eleanor Hullihan somatic research that include release techniques Component—Spring and body-mind practices, such as Body-Mind This course provides students with a weekly Centering® systems and patterns of development opportunity to explore and practice supplemental and evolution; embodiments of contact training strategies to support the development of improvisation; and tunings of somatic approaches specialized skills required in dancing. Building on within solo, duet (strong emphasis on partnering), work done once or twice per semester in the Dance and ensemble dancing. The interest and focus is in Practice Conferences, training issues such as the very physical, sensorial, and imaginative and in strength, endurance, flexibility, kinesthetic discovering new challenges and risks within our awareness, and coordination will be addressed from movement—of both body and mind—toward a neuromuscular training approach based on the improvisational and compositional processes. teachings and selected choreographies of Irene Dowd. In addition, students will be introduced to the Composition Alexander Technique, which aims to refine and optimize function by eliminating excessive tension. Juliana F. May, Beth Gill This is accomplished through specific xe ercises and Component—Year practices designed to increase awareness, Movement and creativity are the birthrights of every implement conscious direction, and achieve gentle human being. This component will explore expressive repatterning of postural and movement habits. Open and communicative movement possibilities by to all students taking a Dance Third. introducing different strategies for making dances. Problems posed run the gamut from conceptually- driven dance/theatre to structured movement Beginning Improvisation improvisations. Learn to access and mold kinetic Peggy Gould vocabularies, collaboratively or individually, and Component—Year incorporate music, sound, gesture, text, and objects Improvisation is a potentially limitless resource. in pursuit of a vision. Students will be asked to Whether arising from movement itself or from create and perform studies, direct one another, and conceptual/imaginative sources, improvisation can share and discuss ideas and solutions with peers. yield raw materials for making dances and other Students are not required to make finished products performance works. It can form the basis for but, rather, to involve themselves in the challenges community-building activities. It can also support and joys of rigorous play. Taught by Juliana May in the the advancement of our technical skills in all dance fall, Beth Gill in the spring. forms, from conceptual and choreographic to performative, by giving us greater access to our Dance Making personal connections to movement. In this course, we will engage in a variety of approaches to John Jasperse, Dean Moss, Juliana F. May, John improvisation. We will investigate the properties of Yannelli, William Catanzaro, Beth Gill movement in the context of experience and Component—Year performance, using activities that range from highly In this class, graduates and upperclass structured to virtually unstructured. The aim of our undergraduates with a special interest and work is to delve deeply into the creative process in a experience in dance composition will design and variety of environmental settings, from the dance direct individual choreographic projects. Students studio to outdoor sites around the campus. and faculty will meet weekly to view works-in- Throughout the year, goals will include building progress and, in conferences taking place the capabilities for sustained exploration of movement following afternoon, discuss relevant artistic and instincts and appetites, honing perceptive and practical problems. Music, costumes, lighting, and communicative skills, and learning to use other elements will be discussed as integral and improvisation to advance movement technique. All interdependent elements in the choreographic work. of these goals will support the development of a This will culminate in performances of the works durable foundation from which to work creatively. toward the end of the semester in the Winter Performance and Spring Performance programs. THE CURRICULUM 33

Performances will take place in the Bessie comprehensive warm-up/cool-down for dancing that Schönberg Dance Theatre or elsewhere on campus in coordinates all joints and muscles through their the case of site-specific orkw . Prerequisites: Dance fullest range of motion, facilitating study of the Composition, Lighting Design and Stagecraft for entire musculoskeletal system. In addition to Dance, and permission of the instructor. movement practice, drawings are made as part of each week’s lecture (drawing materials provided), Introduction to Dance History and three short assignments are submitted each semester. Insights and skills developed in this course Kyle Bukhari, Charmain Wells can provide tremendous inspiration in the process of Component—Year movement invention and composition. Students who This course explores the history of Western wish to join this yearlong class in the second theatrical dance from the courts of Louis XIV to the semester may do so with permission of the present. The course offers an overview of key artistic instructor. movements and traces the development of major forms and genres, considering them within their social, cultural, racial, and gendered contexts. Anatomy Research Seminar Through class screenings, attendance at live Peggy Gould performances, and written assignments, students Component—Year will learn methods of observation, analysis, This is an opportunity for students who have interpretation, and evaluation informed by a broad completed a full year of anatomy study in the SLC understanding of dance’s past and present and how dance program to pursue functional anatomy studies it relates to their own research and practice. This in greater depth. In open consultation with the course is for all students beginning the dance instructor during class meetings, each student program. engages in independent research, developing one or more lines of inquiry that utilize functional anatomy Advanced Dance History and perspectives and texts as an organizing framework. Research topics in recent years have included Theory investigation of motor and experiential learning, Charmain Wells, Kyle Bukhari inquiry into kinetic experience and its linguistic Component—Year expression, detailed study of knee-joint anatomy, This writing-focused graduate seminar examines and study of the kinematics and rehabilitation in 20th-century dance history from a variety of critical knee injury. The class meets biweekly to discuss perspectives, such as collaboration and intermedial progress, questions, and methods for reporting, aesthetics; transdisciplinary and experimental writing, and presenting research. performance practices; gender, race, and sexuality; site-specific orkw ; and technology and screendance. Students will have the opportunity to deepen their Lighting Design and Stagecraft for expertise of the subject and exercise their own Dance critical and scholarly voices by unsettling and Kathy Kaufmann questioning the Western theatrical dance canon Component—Year from a robustly informed historical, social, The art and practice of illuminating dance is the technological, and aesthetic point of view. subject of this component. We will examine the Undergraduate students may take this course with theoretical and practical aspects of designing lights permission of the instructor. for dance. Emphasis will be on learning basic lighting skills and stagecraft. Students will create original Anatomy in Action lighting designs for dance-program performances. This class is a prerequisite for Dance Making. Peggy Gould Component—Year How is it possible for us to move in the countless Teaching Conference ways that we do? Learn to develop your X-ray vision Jennifer Nugent, Juliana F. May of human beings in motion through functional Component—Year anatomical study that combines movement practice, In this practice-based course, students will develop drawing, lecture, and problem solving. In this course, skills to bring their artistry into a teaching setting. movement is a powerful vehicle for experiencing in We will work systematically and imaginatively to detail our profoundly adaptable musculoskeletal develop teaching practices in the dance/movement anatomy. We will learn Irene Dowd’s SpiralsTM, a forms that move us most deeply. To begin, we will 34 Dance read and discuss selected excerpts of foundational students will be given a series of hands-on texts in dance/movement education. For the assignments, both individually and in groups. The remainder of the fall semester, students will develop exercises are designed not only to develop a pedagogical approaches centered on individual familiarity with the camera—exploring concepts of interests. Each student will identify and deepen the framing, camera moves, planes, and deconstruction knowledge of dancing that they wish to teach. In the of space/time—but also, and more importantly, to studio, we will employ movement, observation, contemplate and witness the possibilities of discussion, and class exercises. Additionally, each creating informal pieces and investigate how video student will engage in independent can transfigure and uniquely represent what is being research—surveying literature in the field of dance observed. These exercises build toward the pedagogy, as well as potential sources beyond the completion of a larger video project, incorporating field according to individual interests, and writing approaches introduced throughout the term that and presenting work to the class in the form of a include the presentation or installation of each practicum. Emphasis is placed on process, with the piece. The class welcomes dancers, performers, dual objectives of building metaskills video-makers, photographers, and anyone else (conceptualizing) and practical ones (actualizing) in interested in this process. constructing durable curricular structures. For the spring, focus of the class shifts to teaching Performance Project generative forms, including improvisation and composition, with each student developing a Lacina Coulibaly formalized teaching plan. Each member of the class Component—Fall will serve as both teacher and student, with a West African and European contemporary dance- weekly discussion of class activities and selected trained Lacina Coulibaly will introduce students to, class readings drawn from a range of sources and and develop tools to create, an intimate or sacred perspectives. Supplemental independent research space within themselves and with others. In keeping will support, inform, and enrich creation of the with his own philosophical approach, the process teaching plan. In both semesters, individual will originate from walking, the natural gait. Taking pedagogical research and development will be this as the basis for the creation of rhythm, the summarized and submitted in a final eportr , with an students will work without judgment, either internal annotated bibliography serving as documentation of or external. They will also study the fundamental the development process as well as the basis for principles of West African dance and its sensibilities future promotional material. Students may enter this that form the base of Lacina’s own practice, each yearlong course in the second semester with student taking those principles into their own bodies permission of the instructor. and allowing them to give rise to new vocabulary. In Lacina’s home culture, dance is community. In his interpretation, dance is about relationship—within Dance and Media our own bodies, with the Earth, with others, and with Faculty TBA the world around us, both visible and invisible. That Component—Spring relationship is where rhythm takes place. Our role as This is a course about “why and when” to convey a dancers is to serve the spirit of the dance and all of choreographic idea into a video. In our experience, the relationships that go with it. At the end of the the important questions are simple: When does one’s semester, students will showcase their work as a concept ask for the language of video-making, and performance. what are the tools available in video that would not only facilitate the work but also demand that the Big Dance Theatre work be made specifically for the screen? To answer these questions, one needs to understand that Component—Spring neither the media nor dance is subjugated to the The Big Dance Theatre is known for its inspired use other. The same understanding of dance has to be of dance, music, text, and visual design. In the spring extended to video and experimental film. During the semester, students will restage The Snow Falls in the course, we will screen and analyze works—from Winter, which is based loosely on the language and early experimental films made in the 1920s ot early tone of the absurdist play, The Lesson, by Ionesco. video art works for the 60s and, finally, to videos and The play was created for the OtherShore Dance installations of our contemporaries—in order to Company and later danced by the Martha Graham illustrate different approaches and to guide the Dance Company. Making use of Ionesco’s flat students’ own works. Throughout the semester, tonality, his simple sentences, and his stage directions, the piece is dark, ironic, and funny. The THE CURRICULUM 35 piece involves weaving text and movement together. Courses offered in related disciplines this year are Students will showcase their work with an end-of- listed below. Full descriptions of the courses may be semester performance. found under the appropriate disciplines. Economics of Environmental Justice: People, Place, Dance Meeting and Power (p. 37), An Li Economics Component—Year Economics of the Environment and Natural This is a monthly meeting of all Dance Thirds Resources: Market Failures, Capitalism, and (undergraduate and graduate students), in which we Solutions (p. 36), An Li Economics gather for a variety of activities that enrich and History of Economic Thought and Economic History: inform the dance curriculum. In addition to sharing Economic and Legal Foundations (p. 36), department news and information, Dance Meeting Jamee K. Moudud Economics features master classes by guest artists from New Intermediate Macroeconomics: Main Street, Wall York City and beyond, workshops with practitioners Street, and Policies (p. 38), An Li Economics in dance-related health fields, panels and Intermediate Microeconomics: Conflicts, presentations by Sarah Lawrence College dance Coordination, and Institutions (p. 37), An Li faculty and alumnae, and casting sessions for Economics departmental concerts created by the Dance Making Introduction to Economic Theory and Policy (p. 36), class. In 2018-19, guest artists included Jacalyn Jamee K. Moudud Economics Carley/German Dance lecture; Mina Nishimura/ Legal Foundations to Business History: Corporate Introduction to Butoh; Rocky Bornstein/Dancer’s Governance, Democracy, and Economic Health; Shamel Pitts/Introduction to Gaga; John Transformation (p. 38), Jamee K. Moudud Jasperse and Una Chung in conversation/Influence, Economics Inspiration, Homage, Appropriation, and Theft in Art First-Year Studies: Introduction to Environmental Making and Dance, and Eleanor Bauer/Choreographic Studies: Cultures of Nature (p. 39), Charles Process. Zerner Environmental Studies Introduction to Property: Cultural and Environmental Other courses of interest are listed below. Full Dimensions (p. 40), Charles Zerner descriptions of the courses may be found under the Environmental Studies appropriate disciplines. Food, Agriculture, Environment, and Development (p. 61), Joshua Muldavin The Creative Process: Influence and Geography Resonance (p. 105), Chester Biscardi Music Introduction to Development Studies: The Political Theories of the Creative Process (p. 137), Charlotte L. Ecology of Development (p. 63), Joshua Doyle Psychology Muldavin Geography The Psychological Impact of Art (p. 135), Alison Jane The Geography of Contemporary China: A Political Martingano Psychology Ecology of Reform, Global Integration, and Rise Advanced Interdisciplinary Studio II (p. 171), John to Superpower (p. 62), Joshua Muldavin O’Connor Visual and Studio Arts Geography Media Burn: Moving Image Installation in An Introduction to Statistical Methods and Practice (p. 175), Jenny Perlin Visual and Studio Analysis (p. 100), Daniel King Mathematics Arts Introduction to Social Theory: Philosophical Tools for Critical Social Analysis (p. 117), David Peritz Philosophy DEVELOPMENT STUDIES African Politics (p. 125), Elke Zuern Politics Rising Autocrats and Democracy in Decline? (p. 127), Classes from disciplines such as anthropology, Elke Zuern Politics economics, environmental studies, geography, Intervention and Justice (p. 126), Elke Zuern Politics history, politics, public policy, sociology, and writing Global Child Development (p. 136), Kim Ferguson comprise the classes available within this cross- (Kim Johnson) Psychology disciplinary path. Changing Places: Sociospatial Dimensions of Urbanization (p. 151), Shahnaz Rouse Sociology Travel and Tourism: Economies of Pleasure, Profit, and Power (p. 153), Shahnaz Rouse Sociology Color (p. 177), Gary Burnley Visual and Studio Arts 36 Economics The Ideas of Photography (p. 176), Joel Sternfeld above and below the surface? These are the Visual and Studio Arts inheritance of the human race, and there must be The New Narrative Photography (p. 176), Joel regulations for the common enjoyment of it....No Sternfeld Visual and Studio Arts function of government is less optional than the regulation of these things, or more completely involved in the idea of civilized society.” What property-right regimes are proper for solving the ECONOMICS “problem of the social cost”? Is privatization the only solution, as the market fundamentalist economists At Sarah Lawrence College, economics is not taught have argued? Why do developing countries have as a set of techniques for working in a static field higher pollution levels? Are pollution activities but, rather, as an evolving discipline. In the liberal migrating to developing countries? In Donora, arts tradition, Sarah Lawrence students approach Pennsylvania, “smoke ran like water” in the 1940s the study of economics by addressing issues in and led to deaths and impaired health. But in most historical, political, and cultural context. They places in the developed world, environmental quality analyze and evaluate multiple schools of thought as has improved significantly in the past decades. How they relate to actual situations, exploring from an can we explain such changes? What are the most economic perspective topics such as globalization, efficient yswa to deal with pollution? Environmental growth and social policy, inequality, capitalism, and degradation is far from being over in developed the environment. Students who have focused on countries. Who is being impacted more by pollution? economics have gone on to become union organizers, Why do certain population groups tend to suffer join the Peace Corps, intern with United Nations more from environmental harms? Scientists provide agencies, go to law school, and enter graduate ample evidence that the current economic path is programs in public policy and international unsustainable, and serious policies are needed to development. deal with the challenge. But the policies are seriously inadequate. Why? What political economy Introduction to Economic Theory factors are determining the environmental policies? and Policy In this course, we will apply economics principles to Jamee K. Moudud understand how societies use and misuse the Open, Lecture—Year environment and natural resources. This yearlong lecture will, broadly speaking, cover introductory microeconomics and macroeconomics from a wide range of theoretical perspectives, History of Economic Thought and including neoclassical, post-Keynesian, Marxian, Economic History: Economic and feminist, and institutional political economy Legal Foundations perspectives. The objective of the course is to enable Jamee K. Moudud students to understand the more “technical aspects” Open, Seminar—Fall of economics (e.g., usage of supply/demand analysis The dominant approach in contemporary economics within and outside neoclassical economics), as well is the neoclassical school. This course will introduce as some economic history and the history of students to the origins, foundational tools and economic thought. The theoretical issues will be questions, and analytical constructs at the heart of applied to contemporary policy debates, such as the both neoclassical and other schools of thought in Green New Deal, inequality, health care, and economics. The first part of the oursec will deal with international trade. what is called classical political economy (primarily Adam Smith, David Ricardo, and Karl Marx). Next, Economics of the Environment and given that property, contracts, and torts are at the core of markets, the course will integrate the path- Natural Resources: Market breaking insights from the Legal Realist and Critical Failures, Capitalism, and Solutions Legal Studies traditions (in particular, Robert Lee An Li Hale and Morton Horwitz) to understand the legal Open, Seminar—Fall foundations of markets. The study of this law and Since the 19th century, generations of economists political economy tradition will also include the have understood the importance of the environment contributions of Karl Polanyi to provide an and natural resources. John Stuart Mill, a classical understanding of the deeply political nature of economist, argued: “Is there not the Earth itself, its markets. The final part of the oursec will deal with forests and waters, and all other natural riches, the perspectives of some of the major founders of THE CURRICULUM 37 the neoclassical school (Léon Walras, William the Monday/Wednesday section or the Tuesday/ Stanley Jevons, and John Bates Clark) and their Thursday section. Some prior experience in debates with institutional economists during the economics is recommended. interwar period. The theoretical debates will be related to certain topics in particular, such as the Intermediate Microeconomics: nature of business competition and the distribution of income. Conflicts, Coordination, and Institutions Feminist Economics An Li Intermediate/Advanced, Seminar—Fall Kim Christensen Economics was born in the 18th century, around the Open, Seminar—Spring same time as capitalism emerged in Europe. Since Feminist economics arose as a critique of many of then, economists have sought to understand the the fundamental assumptions underlying ways in which people allocate, produce, exchange, mainstream economics. For instance, feminist and distribute things in capitalist societies and how economics interrogates the androcentric and such activities impact people’s well-being. For the Eurocentric assumptions behind economics’ “homo most part of the 20th century, microeconomics economicus,” the supposedly autonomous individual centered on the “efficiency” of the free market. who collects (freely available) unbiased information Since the late 20th century, contending paradigms in and makes rational decisions, self-interested in the microeconomics have successfully challenged the market and altruistic in the home. Over the past 30 narrow definition of “efficiency” and broadened the years, feminist economics has developed into scope of analysis from free market to a variety of coherent perspective in its own right. This approach institutions in which the market is either unfree or acknowledges and investigates the existence of absent. In this course, we will examine fundamental power differentials by race/ethnicity, gender, class, questions, such as: What are the incentives of sexual orientation, nation, and other variables in individual decision-making under different both the home and the market; it studies human circumstances? How do individuals make decisions? behavior in relationship rather than as autonomous What are the social consequences of individual individuals; and it proposes policies to measure and decision-making? We will not only learn about to maximize the well-being of families and traditional issues such as how individual consumers communities. This course will examine the and firms make decisions and the welfare properties underlying theoretical assumptions of this emerging of the market but also will examine how individuals paradigm and its application to questions of interact with each other, the power relationship economic policy. Topics to be covered include: what between individuals, the power relationship of the we mean by “the economy,” which activities and labor market and the credit market and inside the transactions “count” (and “should count”) as firms, the situations where individuals care about economic, and the implications of these definitions; other than their self-interests, the successful and the role of unpaid caring labor and of publicly unsuccessful coordination of individuals, and the provided services to both individual economic institutional solutions for improving social welfare. success and national economic development; the Prior knowledge of microeconomics is required. persistence of both occupational segregation and wage differentials—explanations for and policies to mitigate these inequalities; the impact of domestic Economics of Environmental violence and other forms of nonmarket coercion on Justice: People, Place, and Power economic success; the conceptualization and An Li measurement of economic development and Intermediate/Advanced, Seminar—Spring success; and the capabilities approach and new We frequently observe that the burden of measures of economic growth. In addition to class environmental harms and/or the benefit of participation, requirements for the course will environmental protection are unequally distributed include frequent short essays on the readings and in a society. Within a nation, the underrepresented working in small groups to present those readings. In households, such as minorities in the United States, lieu of writing a conference paper, it may be possible bear a disproportionate burden. Globally, under the for some students to engage in service-learning at neoliberal regime, trade and financial lateralization My Sister's Place (a local domestic violence shelter) have made it easier to transfer highly polluting or another local feminist organization. This course economic activities to the Third World. Moreover, the has two sections; students should sign up for either capitalist development in the Third World has 38 Economics increasingly deprived the rural communities and the same word, we do not all mean the same thing.... The urban poor of their environmental rights. This course shepherd drives the wolf from the sheep’s throat, for examines ways in which environmental injustices which the sheep thanks the shepherd as a liberator may arise and affect different people with different while the wolf denounces him for the same act as power in different places. We will draw knowledge the destroyer of liberty....Plainly, the sheep and the from multiple fields, such as economics, political wolf are not agreed upon a definition of the orw d science, sociology, environmental studies, liberty.” (Address at the Sanitary Fair, Baltimore, geography, etc. We will examine the issue using Maryland, April 18, 1864) This ambiguity, which multiple methodologies and assess different policy speaks to a central controversy in capitalism in options. regard to the nature and distribution of property relations, is illustrated in this course via the study of Intermediate Macroeconomics: the legal foundations of corporations. From the scandal regarding Cambridge Analytica and Main Street, Wall Street, and Facebook regarding the harvesting of private Policies information for commercial and political purposes to An Li the controversies about gun control, the political Intermediate/Advanced, Seminar—Spring activism of the National Rifle Association, and the Keynes not only revolutionized economic theory in significance of Citizens United, we are continuously 1937 but also led generations of economists to confronted by the centrality of corporate governance believe that the government should play an active in the society. And, of course, broader questions role in managing a country’s aggregate demand. Yet, regarding the economic regulation of corporations since the 1980s, the theoretical and policy world of (e.g., with respect to environmental, taxation, or mainstream economics took a great U-turn and, once labor laws) have been central to political debates again, embraced the fundamental role of the free since colonial times. This course on law and political market. In macroeconomics, this is reflected by the economy will explore corporate governance through pursuit of goals such as fiscal austerity, balanced the lens of legal and business history. A central budget, financial deregulation, and liberalization of theoretical argument of the course is that politics international finance. In this course, we will examine and the economy are deeply interwoven, and law is the fundamental debates in macroeconomic theory the mediating institution that structures the and policy making. The standard analytical economy. Conflict and power struggles mold, alter, framework of aggregate demand, aggregate supply, and occasionally disrupt the law/economy/politics labor market, inflation, xe change rate, and economic nexus. This theoretical insight will be used to analyze growth will be used as our entry point of analysis. On the dynamics of corporate governance and economic top of that, we will examine multiple theoretical and regulation in both the United States and other empirical perspectives on money, credit and contexts. One of the central questions that we will financial markets, consumption, investment, discuss is the “regulation” versus “deregulation” governmental spending, unemployment, dichotomy, which is so central to popular discourse international finance, growth and distribution, and economic debates. Quite simply: Can we really economic crisis, technological change, and long conceptualize corporations (and the economy) waves of capitalist societies. More recent outside their legal and political context? We will progressive theories and policies will be discussed, explore certain core ideas in neoclassical economics such as universal basic income and job guarantee, through the insights of law and political economy so modern monetary theory, etc. Prior knowledge of as to engage the conventional law and economics macroeconomics is required. tradition. We will, at every step, compare theoretical arguments from different theoretical schools in Legal Foundations to Business economics and weave into the analysis insights from constitutional law and corporate law. This course is History: Corporate Governance, designed for students with an interest in a Democracy, and Economic historically-informed analysis of political economy Transformation and the law. Some background in economics and/or a Jamee K. Moudud relevant social-science discipline is recommended, Intermediate/Advanced, Seminar—Spring although the instructor is willing to be flexible. Rival ideas about property rights and liberty are at the heart of the ways in which market economies are legally structured; however, as Abraham Lincoln said, “We all declare for liberty; but in using the THE CURRICULUM 39

Other courses of interest are listed below. Full about the environment that are based in the descriptions of the courses may be found under the humanities, the arts, and the social and natural appropriate disciplines. sciences. Sarah Lawrence students seeking to expand their knowledge of environmental studies How Things Talk (p. 5), Aurora Donzelli Anthropology are encouraged to explore the interconnections Language and Capitalism (p. 7), Aurora Donzelli between disciplinary perspectives while developing Anthropology areas of particular interest in greater depth. The Introduction to Property: Cultural and Environmental environmental studies program seeks to develop Dimensions (p. 40), Charles Zerner students’ capacities for critical thought and Environmental Studies analysis, applying theory to specific xe amples from Food, Agriculture, Environment, and Asia, Africa, and the Americas and making Development (p. 61), Joshua Muldavin comparisons across geographic regions and Geography historical moments. Introduction to Development Studies: The Political Courses include environmental justice and Ecology of Development (p. 63), Joshua politics, environmental history and economics, policy Muldavin Geography and development, property and the commons, The Geography of Contemporary China: A Political environmental risk and the rhetoric of emerging Ecology of Reform, Global Integration, and Rise threats, and cultural perspectives on nature, as well to Superpower (p. 62), Joshua Muldavin as courses in the natural sciences. Geography Environmental studies offers an annual, Postwar: Europe on the Move (p. 70), Philipp Nielsen thematically-focused colloquium: Intersections: History Boundary Work in Science and Environmental An Introduction to Statistical Methods and Studies. This series brings advocates, scholars, Analysis (p. 100), Daniel King Mathematics writers, and filmmakers to the College, encouraging Calculus I: The Study of Motion and Change (p. 101), conversations across the disciplines among Philip Ording Mathematics students, faculty, and guest speakers, as well as Calculus II: Further Study of Motion and access to new ideas and lively exchanges. Students Change (p. 102), Philip Ording Mathematics may participate in internships during the academic Introduction to Social Theory: Philosophical Tools for year or in rural and urban settings across the Critical Social Analysis (p. 117), David Peritz country and throughout the world during the Philosophy summer. Guest study at Reed College (Portland, Democracy, Diversity, and (In)equality (p. 126), Oregon), the Council on International Educational David Peritz Politics Exchange (Portland, Maine), the semester in Rising Autocrats and Democracy in Decline? (p. 127), environmental science at the Marine Biological Elke Zuern Politics Laboratory (Woods Hole, Massachusetts), and other Changing Places: Sociospatial Dimensions of programs are available to qualified Sarah Lawrence Urbanization (p. 151), Shahnaz Rouse Sociology students. Vibrant connections across the faculty Sociology of Global Inequalities (p. 150), Parthiban mean that students can craft distinctive Muniandy Sociology competencies while building a broadly based Travel and Tourism: Economies of Pleasure, Profit, knowledge of environmental issues, problems, and Power (p. 153), Shahnaz Rouse Sociology policies, and possibilities. First-Year Studies: Ecopoetry: Poetry in Relation to the Living World (p. 179), Marie Howe Writing First-Year Studies: Introduction to Our World, Other Worlds (p. 180), Myra Goldberg Writing Environmental Studies: Cultures of Writing Our Moment (p. 184), Marek Fuchs Writing Nature Charles Zerner Open, FYS—Year In a time of extreme environmental events that ENVIRONMENTAL STUDIES include climate change, rising sea levels, flooding, toxics, and radiation, environmental imagery is part Environmental studies at Sarah Lawrence College is of the fabric of daily life and communication: on the an engagement with human relationships to the Web, on television, in newspapers, and in environment through a variety of disciplines. Sarah advertisements. Images of sea rise, genetically Lawrence’s environmental studies program, a modified salmon, or landscapes of environmental critical component of a liberal-arts education, is an devastation in Africa are found in the subway and in intersection of knowledge-making and questions 40 Environmental Studies Benetton ads, as well as on the front pages of The understandings of the cases covered in class, New York Times and in social media. Representations including key ideas about property, its arguments, of nature are not restricted, however, to popular tensions, and pivotal keywords. These conceptions media and texts. They also form the terrain for and understandings will be obtained through scientific ontc estation, debate about environmental writing, critical thinking, and seminar discussions ethics, and “high” policy formulation. This FYS and should be useful both inside and outside the seminar introduces students to the insights and classroom. Course background in the social sciences, methods of environmental humanities, arts or humanities will be useful. environmental history, science studies, and political ecology. How do stories, images, and maps of nature Other courses of interest are listed below. Full shape perceptions and practices of environmental descriptions of the courses may be found under the management? How is the same patch of “nature” appropriate disciplines. imagined and described by differently positioned observers? How are environmental representations, Architectures of the Future: 1850 to the historical contexts, facts, and rhetoric linked? How Present (p. 12), Joseph C. Forte Art History are particular forms of environmental General Biology Series: Ecology (p. 20), Michelle representation used? By whom? Where? To what Hersh Biology ends? In a time of extreme environmental events, Microbiology (p. 21), Michelle Hersh Biology sometimes called the Anthropocene, how are ideas Nutrition (p. 23), Mali Yin Chemistry of nature, ecology, and environmental futures The Chemistry of Everyday Life (p. 23), Mali Yin changing? How are ideas of resilience now shaping Chemistry the visions and material interventions of architects, Economics of Environmental Justice: People, Place, engineers, landscape architects, and urban and Power (p. 37), An Li Economics planners? How do works of fiction, nonfiction, film, Economics of the Environment and Natural and other arts encourage imaginative interventions Resources: Market Failures, Capitalism, and in an era of increasing environmental risk? In the Solutions (p. 36), An Li Economics fall, students will alternate biweekly conferences History of Economic Thought and Economic History: with biweekly small-group activities. In the spring, Economic and Legal Foundations (p. 36), students will attend conferences on alternate weeks. Jamee K. Moudud Economics Introduction to Economic Theory and Policy (p. 36), Jamee K. Moudud Economics Introduction to Property: Cultural Legal Foundations to Business History: Corporate and Environmental Dimensions Governance, Democracy, and Economic Charles Zerner Transformation (p. 38), Jamee K. Moudud Sophomore and above, Seminar—Spring Economics Few issues are more contentious in the Food, Agriculture, Environment, and environmental arena than those surrounding Development (p. 61), Joshua Muldavin struggles over rights to private, as well as common, Geography property resources. What is property, and how is it Introduction to Development Studies: The Political made? How are property rights performed, Ecology of Development (p. 63), Joshua publicized, and enforced? Debates over the Muldavin Geography “commons” implicate ideas of citizenship, The Geography of Contemporary China: A Political community, the public good, justice, and governance. Ecology of Reform, Global Integration, and Rise Controversies over public space, community gardens, to Superpower (p. 62), Joshua Muldavin genetic recombinant research and rights to the Geography genome, blood supplies and public health, and North- Green Romanticisms: The Garden and the South disputes over rights to biodiversity, as well as Wild (p. 97), Fiona Wilson Literature debates over landscapes in the Middle East, are part The Poetry of Earth: Imagination and Environment in of this contested terrain. This course introduces English Renaissance Poetry (p. 94), William ideas, practices, and cultures of property (private, Shullenberger Literature public, and collective); debates, claims, arguments An Introduction to Statistical Methods and over the commons; and the environmental and social Analysis (p. 100), Daniel King Mathematics consequences of different property regimes. What Ecomusicology: Music, Activism, and Climate will be the fate of urban coastal cities and property Change (p. 106), Niko Higgins Music rights in the Anthropocene? At the end of this Global Child Development (p. 136), Kim Ferguson course, students should possess clear (Kim Johnson) Psychology THE CURRICULUM 41

Food Environments, Health, and Social Courses offered in related disciplines this year are Justice (p. 136), Magdalena Ornstein-Sloan listed below. Full descriptions of the courses may be Psychology found under the appropriate disciplines. Advanced Research Seminar (p. 139), Meghan Jablonski , Elizabeth Johnston , Linwood J. Lewis How Things Talk (p. 5), Aurora Donzelli Anthropology Psychology Life, Death, and Violence in (Post)Colonial France Changing Places: Sociospatial Dimensions of and Algeria (p. 6), Robert R. Desjarlais Urbanization (p. 151), Shahnaz Rouse Sociology Anthropology Detention, Deportation, Dispossession: From On Whiteness: An Anthropological Exploration (p. 6), Incarceration to Displacement (p. 151), Mary A. Porter Anthropology Parthiban Muniandy Sociology Telling Lives: Life History Through The Ideas of Photography (p. 176), Joel Sternfeld Anthropology (p. 7), Mary A. Porter Visual and Studio Arts Anthropology The New Narrative Photography (p. 176), Joel The Anthropology of Images (p. 5), Robert R. Sternfeld Visual and Studio Arts Desjarlais Anthropology First-Year Studies: Ecopoetry: Poetry in Relation to Spaces of Exclusion, Places of Belonging (p. 7), the Living World (p. 179), Marie Howe Writing Deanna Barenboim Anthropology Our World, Other Worlds (p. 180), Myra Goldberg First-Year Studies: Histories and Theories of Writing Photography (p. 10), Sarah Hamill Art History Poetry: What Holds the Unsayable (p. 186), Marie Feminist Economics (p. 37), Kim Christensen Howe Writing Economics Introduction to Development Studies: The Political Ecology of Development (p. 63), Joshua Muldavin Geography ETHNIC AND DIASPORIC STUDIES The Geography of Contemporary China: A Political Ecology of Reform, Global Integration, and Rise Ethnic and diasporic studies as an academic to Superpower (p. 62), Joshua Muldavin discipline lie at the intersection of several Geography increasingly powerful developments in American Diversity and Equity in Education: Issues of Gender, thought and culture. First, interdisciplinary and Race, and Class (p. 78), Nadeen M. Thomas comparative scholarship has become so prevalent as History to represent a dominant intellectual norm. Second, Public Stories, Private Lives: Theories and Methods the use of this new scholarly methodology to meet of Oral History (p. 78), Mary Dillard History new academic needs and illuminate new subject Standing on My Sisters’ Shoulders: Rethinking the matter has given rise to a plethora of discourses: Black Freedom Struggle (p. 73), Komozi women’s studies; Native American studies; African Woodard History American studies; gay, lesbian, and transgender The Sixties (p. 73), Priscilla Murolo History studies; and global studies. Third, and perhaps most Women, Culture, and Politics in US History (p. 78), important, there has been a growing recognition, Lyde Cullen Sizer History both inside and outside academia, that American First-Year Studies: Literature, Culture, and Politics in reality is incorrigibly and irremediably plural and US History, 1770s–1970s (p. 68), Lyde Cullen that responsible research and pedagogy must Sizer History account for and accommodate this fact. Gender, Race, and Media: Historicizing Visual We define ethnic and diasporic studies Culture (p. 79), Rachelle Sussman Rumph (loosely) as the study of the dynamics of racial and History ethnic groups (also loosely conceived) who have Who Tells Your Story? Cultural Memory and the been denied, at one time or another, the full Mediation of History (p. 79), Rachelle Sussman participation and the full benefits of citizenship in Rumph History American society. We see these dynamics as Global Queer Literature: Dystopias and Hope (p. 86), fascinating in and among themselves but also feel Shoumik Bhattacharya Lesbian, Gay, Bisexual, that studying them illuminates the entire spectrum and Transgender Studies of humanistic inquiry and that a fruitful cross- Comparative Literary Studies and Its Others (p. 94), fertilization will obtain between ethnic and diasporic Bella Brodzki Literature studies and the College’s well-established curricula Conscience of the Nations: Classics of African in the humanities, the arts, the sciences, and the Literature (p. 95), William Shullenberger social sciences. Literature 42 Film History Doing It for the Culture: Journeys Through FILM HISTORY Revelation, Aspiration, and Soul (p. 93), Marcus Anthony Brock Literature Sarah Lawrence students approach film, first and First-Year Studies: European Literature: Past and foremost, as an art. The College’s film history Present (p. 90), Eduardo Lago Literature courses take social, cultural, and historical contexts First-Year Studies: The Perils of Passion: Ancient into account; but films themselves are the focus of Greek History for Today’s Troubled study and discussion. Students seek artistic value Times (p. 89), Emily Katz Anhalt Literature equally in Hollywood films, art films,vant a -garde Slavery: A Literary History (p. 97), William films, and documentaries, with emphasis on Shullenberger Literature understanding the intentions of filmmakers and Introduction to Social Theory: Philosophical Tools for appreciating their creativity. Critical Social Analysis (p. 117), David Peritz As a valuable part of a larger humanistic Philosophy education in the arts, the study of film often Democracy, Diversity, and (In)equality (p. 126), includes the exploration of connections to the other David Peritz Politics arts, such as painting and literature. Close Cultural Psychology of Development (p. 139), association with the filmmaking and visual arts Barbara Schecter Psychology departments enables students working in those First-Year Studies: Culture in Mind (p. 129), Deanna areas to apply their knowledge of film ot creative Barenboim Psychology projects. And within the discipline, the study of film Global Child Development (p. 136), Kim Ferguson gives students insight into stylistic techniques and (Kim Johnson) Psychology how they shape meaning. Advanced courses in Immigration and Identity (p. 134), Deanna specific national genres, forms, movements, and Barenboim Psychology filmmakers—both Western and non- Intersectionality Research Seminar (p. 138), Western—provide a superb background in the Linwood J. Lewis Psychology history of film and a basis orf sound critical First-Year Studies: From Schools to Prisons: judgment. Students benefit rf om New York City’s Inequality and Social Policy in the United enormously rich film environment, in which film States (p. 141), Luisa Laura Heredia Public Policy series, lectures, and festivals run on a nearly The Politics of “Illegality,” Surveillance, and continuous basis. Protest (p. 142), Luisa Laura Heredia Public Policy History and Aesthetics of Film Jewish Autobiography (p. 146), Glenn Dynner Religion Michael Cramer The Holocaust (p. 147), Glenn Dynner Religion Open, Lecture—Year The Ideas of Photography (p. 176), Joel Sternfeld This class will provide a detailed survey of the Visual and Studio Arts history of moving-image art, as well as an The New Narrative Photography (p. 176), Joel introduction to key aesthetic and theoretical Sternfeld Visual and Studio Arts concepts in the study of film. eW will study the major Experiments With Truth: Nonfiction Writing rF om the elements of film orm—editing,f photography, shot Edges (p. 186), Vijay Seshadri Writing composition, sound, mise-en-scene—as phenomena First-Year Studies: Ecopoetry: Poetry in Relation to emerging from specific historical contexts and chart the Living World (p. 179), Marie Howe Writing their development both over time and as they travel First-Year Studies: Writing and the Racial around the world. While the emphasis of the earlier Imaginary (p. 178), Rattawut Lapcharoensap part of the course will be on film art’s European and Writing American origins, we will approach it as a truly Nonfiction Writing Seminar: Mind as Form: The global phenomenon, with considerable attention Essay, Personal and Impersonal (p. 184), Vijay devoted to East and South Asian, African, Latin Seshadri Writing American, and Middle Eastern cinemas. While the Our World, Other Worlds (p. 180), Myra Goldberg basic structure of the course will be chronological, Writing we will develop the vocabulary and viewing skills The Kids Are All Right: Fiction Workshop (p. 181), necessary to identify and analyze the key Leah Johnson Writing components of film et xts as we proceed; for example, our examination of editing will be situated within our discussion of 1920s Soviet cinema, while possible uses and aesthetic implications of sound will be examined alongside a number of diverse early THE CURRICULUM 43 experiments with sound. Other key moments to be Ut pictura cinema: How Visual studied will include the development of the Artists Are Portrayed in Film “classical” Hollywood cinema (and challenges to it), the emergence of new national art cinemas in the Sally Shafto post-World War II era, the radical cinema traditions Open, Lecture—Spring of the 1960s and ’70s, and developments in film Inspired by the Horatian epigram Ut pictura poesis aesthetics since the introduction of digital (“as is painting so is poetry”) that compares filmmaking echniquest in the 1990s. Key theoretical painting and poetry, this lecture class will offer approaches in film studies will also be situated in students an opportunity to consider the their historical context, including early debates representation of creativity through the lives of around film’s status as art from the 1910s and ’20s, visual artists in film. It’s orthw noting that several inquiries into the relationship between photography major filmmakers began their careers as painters and reality from the post-World War II period, and (for example, Maurice Pialat, Robert Bresson, Jean- Marxist and feminist analyses of the ideological Luc Godard, Michael Mann, and Derek Jarman); and, implications of film ormf and its relationship to the for many, it’s clear that the model of the painter spectator from the 1960s and ’70s. remains a metonym for creativity tout court. Already in the 1930s, international film ompaniesc began engaging in prestige productions focused on artistic Introduction to Animation Studies biopics, as in Alexander Korda’s Rembrandt (1936). Jason Douglass Interestingly, that film’s photography by French Open, Lecture—Fall cinematographer Georges Périnal approximates the To animate is to bring to life, to instill movement into effects of the Dutch master. A decade later, Europe that which would otherwise be still. Animated films saw a proliferation of films on artists, with a series grant their viewers access to imaginary worlds that of short films yb the young Alain Resnais (Van Gogh, are frequently populated by anthropomorphic Gauguin, Guernica, etc). That trend is generally animals, fantastical environments, and utopian interpreted as a search for eternal values after the societies. But animation takes many forms. This devastation of World War II. In the 1996, “bad boy” course offers a broad survey of the global history of painter Julian Schnabel moved beyond painting on animation by embracing the diversity of those forms canvas to work on the larger medium of film, and by encouraging students to draw connections starting with his Basquiat. To date, the artist most between the techniques and materials employed by frequently portrayed on film has unquestionably animators and the political, social, and cultural been the Dutch painter Vincent van Gogh. A functions of animated texts. Students will be screening of at least one Van Gogh biopic will enable introduced to a wide variety of ways in which us to reflect on the everlasting appeal of that artiste animation has historically been created, including maudit. We will also consider several women artists works made with sand, paper, puppets, pixels, clay, in film, notably the 17th-century Italian artist, cels, pinscreens, garbage, and other unconventional Artemisia Gentilleschi, who was one of the first materials. Along the way, students will familiarize women to emerge as a painter in her own right; the themselves with key films, filmmakers, filmic Mexican painter Frida Kahlo in Julie Taymor’s Frida; technologies, and filmmaking traditions by studying and the talented sculptress Camille Claudel, who had animation from various eras, genres, industries, and worked as Auguste Rodin’s assistant. We’ll also look countries. In addition to featuring numerous works at Andrei Tarkovski’s Andrei Rublev, about a 15th- from Japan and the United States, weekly screenings century Russian icon painter; Derek Jarman’s will incorporate animated shorts and feature films Caravaggio and Blue; as well as Peter Watkins’s from many different regions, including Brazil, Edvard Munch, an absolute paragon in the genre. In Canada, China, Czech Republic, France, Germany, addition, while we will concentrate primarily on Iran, Korea, Mexico, Poland, Russia, and Swaziland. fiction films,e w will also view several In-class discussions and course assignments will documentaries, including Emile de Antonio’s 1973 urge students to grapple with complex questions and documentary on American painters of the postwar issues in the field of animation studies. Students period, Painters Painting, and Victor Erice’s The who are interested in pursuing a film-making project Quince Tree Sun. Our class will end with a screening for their final project have the option of registering of Florian Henckel von Donnersmarck’s Never Look for this class under Filmmaking and Moving Image Away, the 2019 Oscar-nominated dramatization of Arts. the life of Gerhard Richter, one of the most important painters working today. 44 Film History The Birth of Third World Cinemas India’s regional, national, and global cinema. and Contemporary Latin American Starting with pre-independence Indian cinema, the course moves chronologically through the decades Film to the contemporary period, all the while providing a Sally Shafto political, economic, social, and cultural background Open, Seminar—Fall to the universe of these plural film practices. The This seminar seeks to examine the development of required readings encompass a multidisciplinary the vibrant national cinemas across Latin America approach to the study of cinema in India and include and, in particular, the genesis of the Marxist-inspired both conceptual and historical writings on the Third World Cinema movement in the 1960s and different aspects of Indian cinema. The lectures, 1970s that was founded as an alternative to both along with the readings, intend to introduce Hollywood (First Cinema) and European arthouse students to the predominant critical approaches in film (Second Cinema). Beginning with Sergei the field of Indian cinema studies. The writing Eisenstein’s unfinished ¡Que Viva México! (1931) and component of the course encourages students to continuing with Mexico’s Golden Age of cinema develop their skills of analysis and interpretation to (1933–64), we will concentrate on the film address either/both formal questions (such as production of five principal countries: Mexico, Brazil, issues of aesthetics, narrative, genre, visual style) Argentina, Cuba, and Chile. In Cuba, the heady and sociocultural questions (such as issues of influence of the revolution there spawned a representation, tradition/modernity, private/public, revitalized political language across Latin America, nationalism, globalization, etc.). and our course readings will include the rousing manifestos of filmmakers Glauber Rocha, Fernando Solanas, and Octavio Getino. We will follow Latin Mainland Chinese Cinema, Culture, American cinema until recent international and Identity From 1949 to the blockbusters like Alfonso Arau’s Like Water for Present Chocolate (1992), which was the highest-grossing Michael Cramer, Kevin Landdeck Spanish-language film until that time; altW er Salles’ Open, Joint seminar—Spring The Motorcycle Diaries (2004); and Guillermo del This seminar course will examine both the historical Toro’s Pan’s Labyrinth (2006). The seminar will and cultural context of mainland Chinese cinema highlight key auteurs in Latin American cinema, like from 1949 to the present. The course will be focused Tomás Gutiérrez Alea (Cuba), Walter Salles (Brazil), on full-length feature films rf om the People’s and Patricio Guzmán (The Battle of Chile); several Republic of China, providing an eclectic mix of important Latin American women directors, like movies covering socialist propaganda of the high Argentina’s María Luisa Bemberg, Cuba’s Sara Gómez, Maoist period (1949-76), the critical stances of the and Argentina’s Lucrecia Martel; and some of the “Fifth Generation” (of graduates from the Beijing principal technicians, like Gabriel Figueroa—one of Film Academy) in the 1980s and early 1990s, the the most talented cinematographers in the history of more entertainment-focused films of post-Deng film. (2000s) China, as well as contemporary art films that are largely seen outside of the commercial Indian Cinemas exhibition circuit. This wide variety of films will open up questions of cinematic representations of Priyadarshini Shanker Chinese identity and culture in at least four major Open, Seminar—Fall modes: socialist revolutionary (1949-76), critical This course is designed to introduce the different reflections on China’s past and the evr olution periods, forms, and idioms of Indian sound cinema (1982-1989), what one might call neoliberal (post-1931) to both those who are initiating their entertainment (1990-present), and the more study of Indian cinema and those who are interested underground art cinema that has emerged as in contextualizing and expanding their current mainstream Chinese cinema has become understanding of the cinematic medium within the increasingly commercial. Along with the close Indian subcontinent. The course aims to: (i) provide analysis of films (their narrative structure, a systematic introduction to the historical and audiovisual language, relationship to other films linguistic range of production that Indian cinema from both China and beyond), the course will deal studies attempts to address; (ii) introduce the key with Confucian legacies in Chinese society, films, directors, stars, genres, formal techniques, communist revolutionary spasms and the censorship and themes of Indian sound cinema; and (iii) system, and the more open market and ideology of emphasize the interdynamic relationship between the post-Mao reform era. Assigned readings will be THE CURRICULUM 45 varied, as well. Several key movies will be paired Margarethe von Trotta (Marianne and Julianne) and with their textual antecedents (e.g., LU Xun’s New Helma Sanders-Brahms (Germany Pale Mother). We Year’s Sacrifice will be read alongside HU Sang’s by will also consider at least one film rf om the former the same title, while LI Zhun’s The Biography of LI GDR and the DEFA film studio. The final eeksw of Shuangshuang will accompany the 1962 movie that class will be devoted to several recent blockbuster followed). Appropriate readings will cover important hits, including Wolfgang Becker’s Goodbye Lenin!, historical background in some detail; for example, Fatih Akin’s Head-On, Florian Henkel von the Great Leap Forward (1959-62) and the Cultural Donnersmarck’s The Lives of Others, and Christian Revolution (1966-76) are both crucial events for Petzold’s Phoenix. understanding the revolutionary experience, while the latter is particularly relevant for its impact on Other courses of interest are listed below. Full reform-era filmmakers. Other readings will focus descriptions of the courses may be found under the specifically on cinema, ranging from broad historical appropriate disciplines. overviews on the material/financial onditionsc of production, distribution, and exhibition; close Architectures of the Future: 1850 to the analyses of individual films; the transition from Present (p. 12), Joseph C. Forte Art History socialist to postsocialist cinema and the First-Year Studies: Histories and Theories of construction of “Chineseness” as a object for the Photography (p. 10), Sarah Hamill Art History Western gaze to the avant-garde/independent Histories of Modern and Contemporary Art (p. 11), responses to the current global/commercial Chinese Sarah Hamill Art History cinema. This course is an open superseminar First-Year Studies: Introduction to Environmental (capped at 30 students), meeting once a week for Studies: Cultures of Nature (p. 39), Charles two and half hours in order to facilitate in-depth Zerner Environmental Studies discussions of paired material; for example, two Introduction to Animation Studies (p. 46), Jason movies or a movie and significant historical texts Douglass Filmmaking and Moving Image Arts (either primary or secondary). In addition to this Intermediate French I (Section I): French weekly class time, there will be required screenings Identities (p. 58), Eric Leveau French of film (one or two per week). Students will be History and Memory on Screen: The Third Reich in divided evenly between the two professors for Film, From The Great Dictator to Inglorious conferences, using the regular model of biweekly Basterds (p. 76), Philipp Nielsen History meetings. The Third Reich: Its History and Its Images (p. 69), Philipp Nielsen History Advanced Italian: Fascism, World War II, and the German Cinema and Cultural Resistance in 20th-Century Italian Narrative Memory (1947–2018) and Cinema (p. 83), Tristana Rorandelli Italian Sally Shafto Intermediate Italian: Modern Italian Culture and Open, Seminar—Spring Literature (p. 83), Tristana Rorandelli Italian This seminar will consider recent German history Latin American Literature and Film: Beyond the through German film, one of the most onsequentialc Boom (p. 92), Heather Cleary Literature and influential national cinemas, vo er the past 75 The Occupation and Its Aftermath in French years. The class will open with Helmut Käutner’s Literature and Film (p. 96), Bella Brodzki , Jason rubble film, In Those Days (1947). The late 1940s and Earle Literature 1950s saw a rise in escapist melodramas, like the Cuban Literature and Film Since 1959—Vivir y Austrian Sissi trilogy that was so popular during the pensar en Cuba (p. 155), Isabel de Sena Spanish postwar presidency of Konrad Adenauer. In 1962, Intermediate Spanish II: Juventud, divino several ambitious young men, fed up with the tesoro... (p. 155), Isabel de Sena Spanish moribund state of German cinema, penned the Media Burn: Moving Image Installation in Oberhausen Manifesto and declared: “The old film is Practice (p. 175), Jenny Perlin Visual and Studio dead. We believe in the new one.” From there, we will Arts look at the very first stirrings of what ouldw become Poetry: What Holds the Unsayable (p. 186), Marie New German Cinema. Our seminar will focus on Howe Writing German auteurs Rainer Werner Fassbinder (The Marriage of Maria Braun), Volker Schlöndorff (The Tin Drum), Wim Wenders (Kings of the Road), Werner Herzog (Nosferatu the Vampyre), Alexander Kluge (Yesterday Girl), and two women of the group 46 Filmmaking and Moving Image Arts FILMMAKING AND MOVING First-Year Studies: An Introduction IMAGE ARTS to Cinematography: Visualizing and Creating Images for the Sarah Lawrence College’s undergraduate filmmaking Screen and moving image arts program (FMIA) offers a Misael Sanchez vibrant, dynamic, creative incubator to ignite the Open, FYS—Year imagination of the next generation of media-makers. Behind every artistic vision in filmmaking is an The program seeks to help students navigate the understanding of how to use technology to realize intersection of art and technology as they acquire the story on a screen. A skillful cinematographer the tools and skills of the discipline and develop brings a new dimension to a director’s vision by their critical and creative voices. creating images that enhance the narrative of the Cognizant that not every student will graduate film. By studying select examples of visual styles, to be a writer, director, producer, or game developer, tones, and continuity from classic films, students the program believes that—with the enduring power will learn key elements to consider when using a and influence of cinema, television, the Web, and camera and lights to further enhance the story. The social media—students in all fields of study benefit images that appear on the screen arise from the from media literacy and theory and a deep artistic vision, imagination, and skill of the understanding of the ways and means of media cinematographer as he/she works in a collaborative development and production. The FMIA program relationship with fellow artists. This class will explores a broad scope of media-making, including provide students with the opportunity to explore this narrative fiction, documentary/nonfiction, art form and to learn how to capture visuals that will experimental film, animation, cinematography, support the narrative of a story using available storyboarding, and directing actors, as well as resources in a creative way. Students will work, editing, producing, screenwriting, writing for hands-on, with film-production equipment and will television, writing and producing for the Web, explore the theoretical and aesthetic aspects of the writing for games, and game development. craft. Course discussions will include framing, Interdisciplinary work across the liberal arts is composition, color, and light to create compelling encouraged and formal and informal collaboration images. Students will learn fundamental “on-set” among the music, dance, theatre, writing, visual production skills as they develop and shoot exercises arts, and other disciplines continue to emerge and on a weekly basis. In the first semester, students will flourish. work on recreating scenes from classic films. Those Our program offers an intensive “Semester exercises will focus primarily on visual style and Away” program—Cinema Sarah Lawrence—where learning basic production techniques. The second students work on the development and production of semester will focus on original work that will a feature film shot on location on Nantucket, MA. We incorporate the lessons learned during the first also offer exchange programs in animation with semester. We will cover operation of cameras, CalArts and study abroad opportunities in film in structure and job responsibilities of the production Paris, Cuba, and at the world-famous FAMU film crew, principles of lenses, lighting, and scene school in Prague, among others. composition. All students will produce weekly Sarah Lawrence College offers state-of-the-art exercises focused on building skill sets that will facilities for the FMIA program, including the prepare them for work beyond the course. Field trips Donnelly Film Theatre that seats 185 people and has to professional film esourr ces in New York City, a 4K digital cinema projector, an intimate 35-person reading assignments, and film screenings will be screening room, a teaching/editing lab, a integral to the learning process of the class. 1,400-square-foot soundstage, an animation studio, Biweekly individual conferences will alternate with and a sound and Foley recording booth. Our group conference activities. equipment room offers Sony, Canon, Blackmagic, RED, and ARRI cameras, along with sound, grip, and lighting packages. Introduction to Animation Studies Recent graduates routinely have their work Jason Douglass represented at some of the world’s most prestigious Open, Lecture—Fall film and media estivals,f most recently at Cannes, To animate is to bring to life, to instill movement into Palm Springs, and Slamdance. Graduates who choose that which would otherwise be still. Animated films to pursue advanced degrees are finding traction at grant their viewers access to imaginary worlds that the top film schools in the United States and abroad. are frequently populated by anthropomorphic THE CURRICULUM 47 animals, fantastical environments, and utopian Hand-Drawn Animation societies. But animation takes many forms. This Scott Duce course offers a broad survey of the global history of Open, Seminar—Spring animation by embracing the diversity of those forms This course focuses on the fundamentals of drawing and by encouraging students to draw connections as they pertain to two-dimensional, hand-drawn between the techniques and materials employed by animation. Students will gain an understanding of animators and the political, social, and cultural value, motion, and light logic and learn to establish functions of animated texts. Students will be form and structure utilizing concepts in perspective. introduced to a wide variety of ways in which The course will introduce students to traditional animation has historically been created, including techniques of hand-drawn, frame-by-frame works made with sand, paper, puppets, pixels, clay, animation, where movement is created through cels, pinscreens, garbage, and other unconventional successive, sequential drawings. Students will learn materials. Along the way, students will familiarize about body mechanics and motion flow in the themselves with key films, filmmakers, filmic development of animated characters through technologies, and filmmaking traditions by studying techniques that include walk cycles, turning of animation from various eras, genres, industries, and forms, transformations, holds, squash and stretch, countries. In addition to featuring numerous works weight, and resistance. Students will design and from Japan and the United States, weekly screenings create pencil test projects using Dragon Frame and will incorporate animated shorts and feature films Final Cut Pro software. We will regularly screen from many different regions, including Brazil, examples of animations illustrating hand-drawn Canada, China, Czech Republic, France, Germany, techniques. The course will conclude with a final Iran, Korea, Mexico, Poland, Russia, and Swaziland. project, for which students will develop, In-class discussions and course assignments will conceptualize, and produce a fully animated, hand- urge students to grapple with complex questions and drawn scene. Information and skills established in issues in the field of animation studies. Students this class can be used to improve basic drawing who are interested in pursuing a research project for proficiency, to establish fundamentals for later their final project have the option of registering for digital animation production, and to create and this class under Film History. enhance an animation portfolio, as well as to develop tangible skills for producing graphic novels. Introduction to 2D Digital Software: Dragon Frame Stop Motion, Storyboard Pro, Animation Photoshop, Final Cut Pro X. Elliot Cowan Open, Seminar—Fall Concept Art: The Medea Project In this course, students of all abilities have the Scott Duce opportunity to explore the production of animation, Intermediate, Seminar—Spring starting with the basics (like squash and stretch, This preproduction film and animation oursec is ease in and out, etc.) and moving on to more designed to provide students with the experience of expressive exercises like marrying animation to developing individual, concept-based visual material music, character expression, and digital established by each student’s interpretation of the experimental techniques. Participants gain an classical myth of Medea. The class will research the understanding of timing and motion through story of Medea, as it is interpreted in the novel Bright keyframes, holds, and in-betweens and learn the Air Black, by David Vann, and this will become the characteristics of well-designed and executed intermediary through which students develop and animation. Over the semester, students will produce produce a digital production portfolio and animatic. a series of short exercises and projects to achieve an Through readings, discussions, and drawings, each animation-skills portfolio by the end of the term. student will formulate an interpretation of Bright Air Instruction covers the use of industry-standard tools Black that both expresses the original narrative and in Harmony Premier software by Toon Boom. is uniquely their own. For this, students will produce Students are required to provide their own external a cast of characters through model sheets and size hard drive; however, digital drawing tablets and boards, character staging and backgrounds, and a cintiq drawing screens are available for use by high-resolution animatic of their project. The course students registered for this class. No prior concludes with the class together producing a experience is required. printed-edition portfolio made up of each student’s interpretation of the main character, Medea. Every student will receive a portfolio containing a print of 48 Filmmaking and Moving Image Arts each student’s drawing of Medea. We will also “poetics confront the problematics of power....” distribute copies of the portfolio to select members Throughout the semester, students will produce a of the College community. Information and series of experimental film xe ercises while they experience gained in this course can be used to simultaneously research and produce a single, short produce a professional portfolio or film eel,r the experimental documentary film orf conference work. invention of characters for future animations and This class will acquaint students with the graphic novels, or the execution of serial drawings. basic theory and purpose of experimental film/video, Prerequisite: at least one college-level film, as compared to narrative documentary formats, and animation, or visual arts (painting or drawing) class. to critical methodologies that will help establish aesthetic designs for their own work. In the class, Experimental Animation: Materials we will survey a wide range of avant-garde documentary films rf om the 1920s to the present, and Methods with the central focus being student’s options for Robin Starbuck film production in the context of political and Open, Seminar—Spring cultural concerns. The various practices of Animation is the magic of giving life to objects and experimental documentary film speak ot a range of materials through motion. Whether through linear possibilities for what a movie might be. Within these storytelling or conceptual drive, a sense of wonder is practices, issues such as whose voices are heard and achieved with materials, movement, and who is represented become of crucial importance. transformation. In this class, students will learn the No prior film xe perience is required, though some fundamentals of making animated films in a hands- knowledge of film editing would be advantageous. on workshop environment in which we are actively creating during class meetings and labs. The class will include instruction in a variety of under-camera, Environmental 3D Modeling for stop-motion techniques, including: cut-out paper Animation animation, paint on glass, sequential drawing using Phillip Birch pencil and paper or chalk boards, sand animation, Open, Small seminar—Year and simple object and puppet animation. We will In this class, students will be introduced to the cover all aspects of progressive movement, theory and practice of three-dimensional (3D) especially the laying out of ideas through time and modeling and compositing for animation. We will the development of convincing character and explore 3D animation, design, and architectural motion. The course will cover basic design concepts in the lecture room, on the computer, and techniques and considerations, including materials, in the studio. The purpose of this class is to build the execution, and color. We will also have a skills necessary to leverage the use of a professional foundational study of the history of experimental 3D program (Cinema 4D) in storytelling and animation by viewing the historical animated film animation projects and to develop a critical dialogue work of artists from around the globe. During the with the medium through selected essays and semester, each student will complete five short, topics. Instructional topics include: 3D navigation, animated films angingr in length from 30 seconds to primitives, polygon modeling, symmetries, splines, one minute. Students are required to provide their rendering, keyframe animation, lighting, morphing, own external hard drives and some additional art expressions, rigging, texturing, and compositing. The materials. Software instruction will include course will also cover compositing 2D animation AfterEffects, Adobe Premier, and Dragonframe. with 3D animation and live-action footage using After Effects. Weekly assignments, along with longer Avant Doc: Experiments in projects, will provide students with the building blocks necessary to take their projects in individual Documentary Filmmaking creative directions. Cinema 4D is an industry- Robin Starbuck standard 3D design-and-animation software Open, Seminar—Spring package used in a wide range of projects, from In this course, we will examine experimental motion graphics to full-length feature films ot documentary form as political/social/personal experimental animation. discourse and practice. We take as a starting point avant-garde documentary production and explore it in the manner that theorist Renov defines as “the rigorous investigation of aesthetic forms, their composition and function” and the manner in which THE CURRICULUM 49 Interactive Storytelling necessary building blocks and skill sets to see a project through from a hard drive of footage to a Phillip Birch picture-locked film. Assignments will anger from Open, Seminar—Year assistant editing techniques to editing scenes from This course will explore adaptive and nonlinear both feature-length and short films. echnicT al narratives. We will focus on each student developing instruction will focus on media management, import interactive stories, utilizing a video game engine to and organization, utilization of keywords and smart focus on new techniques in narrative development. collections, syncing, basic timeline editing, split The class will examine works such as visual novels, editing, sound editing, color correction, export, and video games, virtual reality, and artworks to delivery. Successful past conference projects have understand how viewer choice is becoming integral included provided stock short films, as ellw as the to the way we digest media. Examples of work that editing of short films produced by Sarah Lawrence will be analyzed will be contemporary art, such as College filmmaking students. Students in this course that by Lynn Hershman Leeson, and interactive will primarily edit using DaVinci Resolve. Class films/games such as “Gone Home” and “What participation is critical and expected. This course is Remains of Edith Finch?” This course will utilize open to students of all levels and requires no previous animation, film, and programming to develop editing experience. Students must purchase a hard collaborative projects. We will discuss the history of drive—specifications will be provided during the interactive media and read important essays in the interview process. development of the field. By the end of this class, students will be able to integrate audience participation and decision-making into the media of The Art of Editing: Post-Production their choice. The course will utilize flow-chart Brian Emery software in the creation of these narratives, and the Intermediate, Seminar—Spring game engine Unity to deploy them. Unity is an This course aims to build upon the work of the fall industry-standard software in the development of semester. It is expected that students will ideally video games and interactive media. have a rough cut but, at a minimum, access to a completely shot student film that they intend to edit The Art of Editing: Aesthetic and as the core of their work for the semester. Students Practice who did not take the fall course but who do have a film eadyr to cut may join the class with permission Brian Emery of the instructor. A rough cut is an opportunity for a Open, Seminar—Fall new jumping off point. Dailies will be re-examined In this course, we will examine the art and craft of for “hidden gems,” little moments that may have motion-picture editing from both an aesthetic and a been filmed unexpectedly or captured between practical viewpoint. We will explore how the takes. A deep review of this material can help the combination, order, and pacing of shots manage to editor fully reveal a beat, flesh out a moment, or convey both information and emotion. We will ask if realize an emotion that the director may have and when a cut works and—equally wanted but was not fully achieved in the initial important—when a cut works against the rhythm of rough cut. Is this shot too long? Is this scene the story. This course will serve students pursuing necessary? Is this emotional beat realized? The work editing specifically but also filmmaking in general: of the editor is not to cut just to cut but often not to Editing is the language of cinema. There will be cut and to hold a shot. As editor Walter Murch says, screenings of films, both professional and student “The editor is actually making 24 decisions a second: work, with an emphasis on their editing style. No. No. No. No. No. No. No. No. No. No. Yes!” The aim of Examples may be drawn from films such as, but not this class is to do a deep-dive on an existing student limited to, Citizen Kane, Touch of Evil, Rope, Vertigo, project and make it as good as it can be. Students Jaws, The Godfather, Apocalypse Now, Raging Bull, will polish a rough cut to picture-lock by the end of Amadeus, Requiem for a Dream, The Hurt Locker, spring break so that the color grading and sound mix Birdman, The Babadook, We Need to Talk About Kevin, can be completed in time for the final class Whiplash, and Arrival, among others. When possible, screening. Collaboration with students in other two different versions of a film will be shown to filmmaking oursesc will be encouraged and fostered. discuss how different editing choices affect the Specialized guest artists will be brought in as needed film’s emotional impact. We will also explore the and where possible to provide expertise in focused tools of digital editing and how they can be used to areas. For the ambitious student, conference work achieve the filmmaker’s desired artistic results. may include editing multiple peer filmmaking Weekly assignments will provide students with the 50 Filmmaking and Moving Image Arts projects from other production classes, re-editing students will explore composition, color palettes, films on which a student has worked, serving as an and application of a visual style to enhance the story. editor on the Sarah Lawrence College Web Series Students will produce scenes, in class, on a weekly project or editing other material shot previously. basis. Work will be discussed and notes incorporated Students will have the opportunity to screen their into the next project. Students will be required to current projects in class and receive feedback, produce a short project in addition to the work which will also show the class how a project evolves completed during class times, incorporating and comes together through editing over the length elements discussed throughout the semester as part of the semester. Class participation is critical and of conference work. Students will develop, write, expected. Students in this course will primarily edit draw floor plans, shoot, edit, and screen a final using DaVinci Resolve. Students must purchase a project by the end of the term. This is an intensive, hard drive; specifications will be provided during the hands-on workshop that immerses the student in all interview process. aspects of film production. By the end of the course, students should feel confident enough ot approach a Working With Light and Shadow film production project with the experience to take on introductory and assistant positions with the Misael Sanchez potential for growth. Open, Seminar—Fall This introductory course will present students with the basics of cinematography and film production. Writing the Short Screenplay Students will explore cinematography as an art of Maggie Greenwald visual storytelling. The cinematographer plays a Open, Seminar—Fall critical role in shaping the light and composition of The goal of this class is to develop, write, and an image and capturing that image for the screen. workshop a short screenplay—up to 15 pages. Students will investigate the theory and practice of Students will pitch stories in an open, roundtable this unique visual language and its power as a process that will provide an opportunity for them to narrative element in cinema. In addition to covering understand the potential and feasibility of their camera operation, students will explore composition, ideas. The class will explore the elements of visual style, and the overall operation of lighting and screenwriting, including: story structure, character grip equipment. In the first semester, students will development through action (behavior) and work together on scenes that are directed and dialogue, visual storytelling, and point of view in produced in class and geared toward the training of order to expand and deepen the writer’s narrative set etiquette, production language, and workflow. craft. We will schedule readings of at least three Work will include the re-creation of classic film screenplays each week, followed by critique and scenes, with an emphasis on visual style. Students discussion of the work. The course will culminate in will discuss their work and give feedback that will be “table reads” of each screenplay, a process that incorporated into the next project. For conference, allows the writer to hear his/her work read aloud by students will be required to produce a second scene classmate/actors in each role, leading to a final re-creation, incorporating elements discussed production-ready draft. For conference, students throughout the term. This is an intensive, hands-on may choose between developing another idea for a workshop that immerses the student in all aspects short script or long-form screenplay. Those who need of film production. By the end of the course, extra attention to make their in-class projects students should feel confident ot approach a film production-ready by the end of the semester may production project with enough experience to take also receive that opportunity in conference. on introductory positions with the potential for growth. Writing for the Screen K. Lorrel Manning Cinematography: Color, Intermediate, Seminar—Spring Composition, and Style The landscape for the screenwriter has dramatically Misael Sanchez changed during the past several years, with new Open, Seminar—Spring opportunities to write producible short films, This course will explore the roles associated with YouTube® sketches, and Web series seen by millions film production, focusing on cinematography and of viewers, as well as long-form “films” or “movies” lighting for the screen. In addition to covering initially conceived for—and destined for—the camera operation and basic lighting techniques, “silver screen,” a screen that is seemingly changing in color, size, and setting on a daily basis. The THE CURRICULUM 51 disarray of the current film industry has created conference films, students will workshop their rough confusion and opportunity. Nevertheless, the cuts in the classroom and fine-tune their edits in baseline expectation in the contemporary narrative preparation for the final class: THE SCREENING! “film orm”f still remains: It is the expression of a character or characters progressing through a Writing Movies structured journey or series thereof. Designed for the emerging contemporary screenwriter with some Rona Naomi Mark screenwriting experience, the course includes Open, Seminar—Fall opportunities for those creating a new idea, During the course of this seminar/workshop, adapting original material into the screenplay form, students will learn how to write narrative rewriting a screenplay or Web series, or finishing a screenplays with an eye toward completing a screenplay-in-progress destined for whatever screen feature-length work. The course will cover basics of or screens s/he aims to assail. The course will build format and style, and there will be weekly upon previous classes and sharpen one’s storytelling assignments aimed at developing students’ skills. A review of screenwriting fundamentals screenwriting muscles. Students will “pitch” ideas, during the first ewf weeks, as well as a discussion of rigorously outline stories, and write and revise pages the state of each project, will be followed by an of their blueprint for a feature-length film. The class intense screenwriting workshop experience with is designed to help the beginning screenwriter find structured feedback from instructor and peers. his or her voice as a film artist, using the written Published screenplays, several useful texts, and clips language of visual storytelling. of films and ebW series will form a body of examples to help concretize aspects of the art and craft. Do-It-Yourself Filmmaking: No- Conference will most often be devoted to Budget Strategies for Getting It individualized work on the in-class project but may Done also include the exploration of other pieces of writing for the screen, as agreed upon by student Rona Naomi Mark and professor. Intermediate, Seminar—Spring Has there ever been a better time to be a no-budget filmmaker? Recent technological advancements in Script to Screen camera and editing equipment have made it possible Rona Naomi Mark for just about anyone to create slick, high-resolution Open, Seminar—Year images for very little money. As films get easier ot This class will introduce students to all aspects of produce, however, good films become harder to find. filmmaking, rf om conceiving a script through So, how does the nascent filmmaker distinguish his/ exhibition of the final orkw . The first semester will her work from the crowd? With a great script, sure- focus on screenwriting, and students will write short footed direction, and a smart allocation of his/her scripts that they will then produce and direct in the available resources. In this immersive filmmaking second semester. Simultaneously, students will learn workshop, students will develop and shoot a project to use the school’s filmmaking equipment and over the course of the semester. First, we’ll discuss editing software and utilize those skills in a series of scripts not only in terms of their story but also in short, targeted video exercises. Those exercises will terms of their scope and their producability. Then, not only familiarize the students with the gear at we’ll practice our directing skills with a series of their disposal but also will introduce the students to weekly shooting assignments that target specific concepts of visual storytelling (e.g., where to put the directorial challenges. Next, we’ll break down our camera to tell the story). The second semester will scripts for production, figuring out low-cost ways to focus on preproduction and previsualization of the achieve various cinematic effects. Our next step will student’s conference film. Students will learn how to be to previsualize the film yb making shot lists, floor craft shot lists, floor plans, look books, and other plans, and look books. Students will then go out and tools to help them organize their film shoots. shoot their films and bring back the ootf age for Students will also practice directing actors and editing. We’ll review basic post-production finding a method orf effective communication with procedures and introduce software effects that can their cast. They will also learn some basic production add polish to a project without adding cost. The goal management skills, such as breaking down scripts of the course is to push the student creatively for production and scheduling. After shooting their without multiplying costs beyond what is necessary. 52 Filmmaking and Moving Image Arts With the school’s equipment and other resources at Screenwriting Through the your disposal, the only limitation to you as a Director’s Lens filmmaker is your imagination and resourcefulness. Jay Craven Open, Seminar—Fall Writing for Television: From Spec Effective screenwriting requires an understanding of Script to Original TV Pilot story structure and an ability to shape character, Marygrace O’Shea theme, tone, and incident to dramatic effect. For the Intermediate, Seminar—Year director, screenwriting provides an opportunity to The fundamental skill of successful television start anticipating the specific needs and dynamics writers is the ability to craft entertaining and of production, especially for casting, locations, compelling stories for characters, worlds, and design, cinematography, scene blocking, and more. A situations that have been created by others. Though film director takes the screenplay as a starting point dozens of writers may work on a show over the for understanding complex characters and course of its run, the “voice” of the show is unified relationship dynamics. Story is about character, and and singular. The best way to learn to write for character is action. A director uses a script as a television—and a mandatory component of your blueprint for the production, where the collaborators portfolio for agents, managers, showrunners, and work to enlarge upon the script to tell an original producers—is to draft a sample episode of a pre- story by creating conditions that facilitate each of existing show, known as a “spec script.” Developing, the collaborators’ best work. Through those pitching, writing, and rewriting stories hundreds of interactions with actors, the cinematographer, times, extremely quickly, in collaboration, and on producers, production designer, and key set tight deadlines is what TV writers on staff do every personnel, the director works to draw everyone’s day, fitting each episode seamlessly into the series creative work into a unified and xpre essive whole. A as a whole in tone, concept, and execution. This director who has written the script is deeply workshop will introduce students to those immersed in the world of the film and anc draw upon fundamental skills by taking them, step-by-step, that intimate knowledge to inform every discussion through the writing of their own spec (sample) with actors and other collaborators throughout the script for an ongoing dramatic television series. The process of preparation, production, and post- fall will take students through the spec script production. It is said that every film is made (at process, from premise lines, through the outline/ least) three times—through screenwriting, beat sheet, to writing a complete draft of a full one- production, and post-production. A director can, hour teleplay for a currently airing show. No original therefore, use the screenwriting process to great pilots will be pursued in the fall. In conference, advantage, as a safe and open platform to imagine students will work in depth through additional drafts every detail of the unfolding vision for a film. of their script pages. In this class, there will be heavy Screenwriting provides plenty of room for trial and TV viewing in the first third of the semester, as error, as characters take on a life of their own. This students “learn” the shows that are spec-ed in this class will focus on the practice of screenwriting class. In the spring, the class builds on fundamentals from a director’s unique point of view. Students who learned in the fall, now with the focus on creating an do not wish to direct are also welcomed to original TV pilot. Students will hone concepts, participate, since they can surely find value—just as develop characters, and generate beat sheets and a director who never intends to act can benefit rf om pages to create and write an original one-hour or taking acting classes. Students will be encouraged to half-hour show (no three-camera sitcoms). Focusing dig deeply into their stories, conducting ancillary on engineering story machines, we power characters research and keeping notebooks to which they can and situations with enough conflict ot generate turn for new ideas during the revision process. episodes over many years. In conference, students Special consideration will be given to questions of may wish to craft another spec script, begin to character psychology and narrative perspective. develop characters and a series "bible" for their Students may work on whatever interests them, original show, or work on previously developed whether it’s short or feature-length film screenplays, material. Prospective students are expected to have TV pilots, Web series, or something unique. Class an extensive working knowledge across many genres activities will include writing exercises, discussions of TV shows that have aired domestically during the of exemplary scripts circulated for study, and past several decades. critiques of each other’s work. Out-of-class work will focus on reading and screening assignments and regular revision of your scripts to maximum impact. THE CURRICULUM 53 Martin Eden Post-Production indeed, how does a director take the words on the screenplay page and realize them in a film scene? Jay Craven And coming from the writer’s angle, how does one Advanced, Seminar—Fall create useful words on the screenplay page that Last winter and spring, Sarah Lawrence students evoke what is intended to end up on the screen? joined peers from 10 other colleges to produce a film Every screenwriter needs to think like a director. based on Jack London’s autobiographical novel, Every director needs to be skilled at translating the Martin Eden. During the spring 2018 semester, Sarah text of the screenplay into the film that is intended. Lawrence students joined a college class on This class will provide an in-depth exploration into adaptation for the screen to develop the first draft processes that a director may utilize in order to screenplay. It is in the spirit of these experiential develop and actualize his/her vision of a scene as learning projects that we’ll open the Martin Eden written on the pages of the screenplay. In kind, we post-production process to student input, will also study the elements that can inform the participation, and learning. This class will focus on process of the writer, eager to understand how his/ the week-to-week work that is required to complete her pages can create the intended result on the Martin Eden post-production. Among the activities screen. In some cases, we’ll see that the text can be planned: weekly edit critiques and revisions, fine clean and useful; in others, the text may be too rich cutting, sound design and Foley production, music or too spare or, in any case, somehow lacking. The scoring and recording, preparation and production of real work of the writer and of the director is to additional dialogue recording (ADR), preparation and understand the intent of the action in a scene’s text production of visual effects, sound mixing, and color and to strategize how to realize the scene for correction. Additional activity will include maximum impact. Of course, particularly in today’s preparation of marketing materials for release and landscape, the writer and director can often be the development of a festival and release strategy. same person. In any event, a filmmaker (writer and/ Students will meet each week in class and in a group or director) can enhance his/her overall skills by conference to connect to these processes, which will looking at the process through both lenses. In this be in progress. The instructor will present the class, we’ll view films, organize in-class exercises, current state of post-production for theoretical and use published screenplays to immerse ourselves discussion, practical review, and hands-on in the process of interpreting the text and preparing workshopping. Students will take on out-of-class it for the screen. This will include the crucial work assignments related to various aspects and needs required of any writer and/or director: screenplay for that work-in-progress and will make scene analysis, interpretation and breakdown, presentations to the rest of the class for further character development, and how to access and critique and to advance the completion of the film. communicate visual ideas for the look of the film. Students will also review other assigned film scenes We’ll study camera styles and movement in order to and sequences—and complete films—to consider decide how best to visually realize the screenplay the impact of post-production on them. Visiting through your shot selection. We’ll also consider artists will be brought in to provide input, critique, staging, casting, and other elements that create and practical guidance for certain aspects of the your film’s mise en scene. Each student will pursue a post-production. An example: A Foley artist will be series of exercises, culminating in the preparation, contracted to help chart and supervise student work directing, shooting, and editing of two scenes using in that area. The study and process of post- published screenplays. For the first xe ercise, you’ll production provides a good opportunity to advance take a simple scene from a published script (a as an editor, sound designer, director, script private moment, without dialogue) and develop supervisor, Foley artist, and more. Previous film characters through cinematic storytelling. For your production and/or screenwriting experience are second exercise, you will take another simple scene, desirable. with dialogue, from the same screenplay in order to experiment with all of the ideas developed The Writer and the Director: throughout the class. As a writing and directing Translating the Scene “methods” class, the aim is not to make a short film Jay Craven but rather to translate scene work from an existent Open, Seminar—Spring published screenplay and determine how to Writers and directors are often considered to be of articulate the dramatic action of the characters in two different camps—or, at the very least, wearing the context of an overall sequence—or several different creative hats—depending upon what part connected scenes. The screen material generated of the process they find themselves within. And will have less emphasis on production design, 54 Filmmaking and Moving Image Arts wardrobe, props, and locations. Instead, students actors to show what you can do—and get on screen. will focus on the dramatic and emotional action of As in any kind of narrative filmmaking, the challenge the characters within a scene. In conference, will be to develop a fresh story and then animate and students may pursue the writing of original scene enlarge the text through imaginative performance, work, the writing of a short script, or the expansion cinematography, design, sound, and editing. We of a screenplay in development. With the permission imagine two production teams that will each of the professor, students may seek to shoot a scene produce two 20-minute series during the semester. from their original material to be delivered as part of We currently plan to shoot episodes in and around their final onfc erence work. Once again, the focus of the DeCarlo Performing Arts Center. Teams may the class is on the realization of scene work through switch members from time to time to maximize process and methodology rather than the creation of opportunities for fresh collaboration. Outcomes will a short film. echnicT al labs will be included for those vary, with campus screenings and, possibly, online who require instruction in the basic use of camera postings and entry into festivals. Students should equipment, lighting, sound, and editing. No previous have some previous experience in acting, experience in writing or directing is required. screenwriting, and/or some aspect of film production. Creating the Web Series Jay Craven Directing the Scene for Film and Intermediate, Seminar—Spring TV: The Process The rise of the Internet has given birth to new media Claudia Weill forms—including the Web series, with its elastic Intermediate, Small seminar—Fall structure, character-driven original stories, short This course is a hands-on introduction to directing episodes, cultural specificity, and emphasis on narrative in film and elevision.t The classes will writing and performance. In this class, students will consist of a discussion with clips on an aspect of start from scratch to develop, write, and produce directing, followed by exercises with simple, open several original Web series during the course of the scenes to be shot by students in class the same semester. Students will work in all positions, as week. Among the topics that we’ll explore are producers, writers, directors, actors, editors, subtext, staging, directing the actor, creating cinematographers, sound recordists, and more. We’ll identification with a character, camera (shots and use some class time to actually shoot episodes, with movement), creating a visual language, subjectivity, additional work expected outside of class. As part of and directorial POV. The class is a directing class conferences, we’ll hold weekly group working with a focus on scene work rather than a filmmaking dialogues and critique sessions. We’ll also hold class in which one makes a short film. In addition ot screenings and discussion of sample material to the in-class exercises mentioned above, students better understand the world of the Web series. will be required to break down the script of a two- Students can outline and present their own character scene, then direct it in class having cast character and story ideas during pitch sessions. and rehearsed it ahead of time. Students will then From there, we'll advance to episode writing, shoot and edit that scene outside of class and casting, rehearsals, pre-production, production, and present it to the class toward the end of the post-production. In class, we’ll also develop and semester. Additionally, there will be reading and interpret the text for every aspect of each episode viewing assignments, as well as a thorough analysis and prepare it for production. We’ll conduct close of a scene from an existing film—exploring the scene analysis, interpretation, and breakdown. We’ll directorial choices that make the scene work. track character intentions and development for Conference includes the work on the scene that you writers and actors and discuss best practices to plan will shoot, as well as the scene that you will analyze, and communicate both performance strategies and as well as questions that come up about directing visual ideas for the look of each episode. We’ll study narrative. Prior experience with filmmaking and/or camera styles and movement in order to decide how film classes is required. best to visually realize your scripts through shot selection. We’ll also consider blocking, design, and other elements that create your film’s mise en scene. During group sessions, we’ll critique each finished episode and, where appropriate, plan to reshoot certain scenes based on input. The Web series is a good format for young filmmakers, writers, and THE CURRICULUM 55 Producing for Filmmakers, and deliver powerful dramatic narratives rivaled by Screenwriters, and Directors the best of scripted media? This course introduces the student to the adventurous and intriguing world Heather Winters of documentaries from the earliest recorded Open, Seminar—Fall masterpieces to today’s box-office breakout hits What is a producer? Producers are credited on every while exploring everything in between. In addition to film, elevisiont show, and media project made. They immersion in the passionate and rewarding are crucial—even seminal—to each and every dominion of all genres of documentaries—ranging production, no matter how big or small. Yet, even as from experimental, poetic, expository, observational, a pivotal position in the creative and practical participatory, reflexive, and performative to process of making a film, TV show, or digital project, screenings, readings, and practical the title “producer” is perhaps the least understood exercises—students will learn the craft of writing of all of the collaborators involved. This course for documentary before, during, and after demystifies and answers this question, examining production, including how to identify, develop, and what a producer actually does in the creation of clarify themes and ideas and write loglines, screen-based media and the many hats one or a synopses, artistic statements, impact statements, small army of producers may wear at any given time. narrations, and subject interview questions. Students will explore the role of the producer in the filmmaking, elevision,t and digital process from the moment of creative inspiration through project Art and Craft of Development and delivery. Students will gain hands-on producing Pitching for Film and TV experience through nuts-and-bolts production Heather Winters software exercises, breaking projects down into Intermediate, Seminar—Spring production elements, script breakdowns, schedules The first step in getting any project made is having and budgets, logline, synopsis and treatment the goods—a screenplay, an original TV pilot, writing, script coverage, and final in-class project episodes of a Web series, a short film, a documentary presentations. Course work includes written and treatment or proposal—and then developing a rock- verbal assignments, in-class presentations, readings, solid pitch. There is, indeed, a right way to pitch your screenings, and assignments based on invited ideas and projects. This course teaches students industry guests. Conference work may include how to develop a project into a pitch package and producing a film or media project by a student in how to pitch that project—an essential skill for all another Sarah Lawrence College filmmaking- writers, filmmakers, directors, and producers. With production class, research-based papers, in-depth existing scripts and projects, this class guides case studies, and other producer-related projects. students in how to understand studio and network The course provides real-world producing guidance needs, how to ensure that your script is ready to and offers filmmakers, screenwriters, and directors pitch, how to establish industry contacts, how to be a window into the importance of—and mechanics a good communicator, how to understand and pertaining to—the producing discipline, as well as a grapple with changing audience tastes, and, overall, practical skill set for creating and seeking work in how to sell your idea. Every development executive is the filmmaking, TV, and digital content world after looking for great stories and screenplays that will Sarah Lawrence College. Software labs are required. make successful films, TV shows, and digital Tech Lab: Wednesday 6 pm to 8 pm Heimbold 136 content. This course coaches students to evaluate (Ziskin). This lab may not meet every week, but the strengths and weaknesses of their scripts, students should have this time available for labs to treatments, and projects and explore what platform be scheduled at the discretion of the professor. will best suit their project—and why? What kind of viewer will it appeal to? Is it practical? Has it been Writing the Documentary done before? Answering some of these questions will aid students in understanding the practicalities Heather Winters of development. Through a workshop process of Open, Seminar—Fall analyzing scripts, creating pitch packages, and No script? No actors? No problem. Documentary verbal pitching, students will learn what makes their storytelling is in its golden age, and the particular project marketable, how to make their entertainment world has become ensorcelled with stories resonate, and how to engage with and pitch documentary film. Is it because of the universal the gatekeepers of the myriad platforms where human desire to tell true stories? Is it because the truth is sometimes more compelling and stranger than fiction? Is it because documentaries embody 56 Filmmaking and Moving Image Arts audiences seek stories on screen. Students should exercises, the students will develop what will have a completed project for which they wish to become their signature voice, as well as investigate develop a pitch. and develop character voices for animation. Students will also write original material to be Directing the Documentary performed and recorded. Conference work will involve specific eadingsr covering the historical Heather Winters aspects of post-production work in film. The student Intermediate, Seminar—Spring and the professor will decide on a specific aspect of This course introduces the student to the film production work to further investigate. This adventurous and intriguing world of directing class will meet once a week for three hours in the documentaries, from exploring the earliest recorded Heimbold Sound Booth. masterpieces to today’s box-office breakout hits and everything in between. In addition to immersion in the passionate and rewarding dominion of Less is More: On Camera documentaries through screenings, readings, and Performance practical filmmaking xe ercises—and with a deep Doug MacHugh understanding of documentary styles, including Open, Seminar—Year experimental, poetic, expository, observational, This course will focus on both the natural and participatory, reflexive, and performative and how technical aspects of camera performance. The these styles often overlap in documentary student will learn how to create living, breathing film—students will learn the craft of documentary characters constructed and crafted with an filmmaking and directing for documentary. Through emotional inner life that is supported through hands-on exercises and workshops, students will organic impulses and analytical comprehension of explore camera work, shooting styles, lighting, text. The work will require concentrated attention interview techniques, and editorial, graphic, and and expansion of emotional perceptions. The student post-production skills. Students will complete the will develop the ability to actively listen and not to course having written, conceived, filmed, directed, anticipate the resolution but, rather, to discover it in produced, and edited a short, three-to-five minute the moment. The scene work will be taken from documentary. published screenplays. The students will cold read the material and then memorize, rehearse, and The Actor’s Voice Over: An further investigate character using improvisational Intensive Exploration of Voice and emotional exercises. Students will learn how much physicality is required for the various shots Work that make up the scene and learn how to harness Doug MacHugh the physical and emotional focus for extreme close- Open, Seminar—Year up work. There is the required movement aspect to Have you ever wondered who performs the voices this workshop, as well. Each session will begin with that you encounter in your everyday life? You spend physical and emotional exercises that will allow the a portion of each day listening, waiting, and learning performers to move, to breathe, and to play. During from these voices—the familiar voices you hear the filming sessions, the students will have the when watching television commercials, the annoying opportunity to investigate sound, lighting, and voice that tells you to hold and that your call is editing. Voice-over and ADR skills will also be important. Voices are everywhere. These voices are explored. Students are required to write original created by performers. You hear them in the monologues and short original scenes that will be narration of documentaries, television and radio filmed during the spring semester. The scenes will be commercials, animation, graphic novels, video shot in a workshop atmosphere that concentrates on games, phone applications, podcasts, audio books, performance rather than production value. This audio tours, tutorials, and PSAs. In each class course of study is equally valuable to the emerging session, students will work with a sound editor on a performer, director, or screenwriter seeking to variety of projects—from film and elevisiont to understand the alchemy of performance for the commercial spokesperson copy, group ADR, camera. ambience, (wala wala)—creating believable character voices for animation. Students will also investigate breathing and relaxation techniques, appropriate pacing, enunciation, flexibility, and clarity. Facilitating vocal and improvisational THE CURRICULUM 57

Other courses of interest are listed below. Full Even for students who don’t intend to go abroad descriptions of the courses may be found under the with Sarah Lawrence, the French program provides appropriate disciplines. the opportunity to learn the language in close relation to French culture and literature, starting at First-Year Studies: Histories and Theories of the beginning level. At all levels except for beginning, Photography (p. 10), Sarah Hamill Art History students conduct individual conference projects in First-Year Studies: Introduction to Environmental French on an array of topics—from medieval Studies: Cultures of Nature (p. 39), Charles literature to Gainsbourg and the culture of the 1960s, Zerner Environmental Studies from Flaubert’s Madame Bovary to avant-garde Introduction to Animation Studies (p. 43), Jason French female playwrights. On campus, the French Douglass Film History program tries to foster a Francophile atmosphere Advanced Italian: Fascism, World War II, and the with our newsletter La Feuille, our French Table, our Resistance in 20th-Century Italian Narrative French ciné-club, and other francophone events—all and Cinema (p. 83), Tristana Rorandelli Italian run by students, along with two French assistants The Creative Process: Influence and who come to the College every year from Paris. Resonance (p. 105), Chester Biscardi Music In order to allow students to study French while Theories of the Creative Process (p. 137), Charlotte L. pursuing other interests, students are also Doyle Psychology encouraged, after their first eary , to take advantage The Psychological Impact of Art (p. 135), Alison Jane of our Language Third and Language/Conference Martingano Psychology Third options that allow them to combine the study 3D Modeling (p. 174), Shamus Clisset Visual and of French with either another language or a lecture Studio Arts on the topic of their choice. Advanced Interdisciplinary Studio II (p. 171), John During their senior year, students may also O’Connor Visual and Studio Arts think about applying to the English assistantship Introduction to Digital Imaging (p. 173), Shamus program in France, which is run by the French Clisset Visual and Studio Arts Embassy in Washington DC. Every year, Sarah Media Burn: Moving Image Installation in Lawrence graduates are admitted to this selective Practice (p. 175), Jenny Perlin Visual and Studio program and spend a year in France, working in local Arts schools for the French Department of Education. Our World, Other Worlds (p. 180), Myra Goldberg Bienvenue! Writing Poetry: What Holds the Unsayable (p. 186), Marie Beginning French: Language, Howe Writing Writing Our Moment (p. 184), Marek Fuchs Writing Culture, and Action Eric Leveau Open, Seminar—Year This class is primarily designed for students who FRENCH haven’t had any exposure to French. The course will allow them to develop an active command of the The French program welcomes students of all levels, fundamentals of spoken and written French over the from beginners to students with several years of course of the year, using concrete situations of French. Our courses in Bronxville are closely communication. In addition to the regular use of associated with Sarah Lawrence’s excellent French theatre in the classroom, we will explore French and program in Paris, and our priority is to give our francophone culture through the study of songs, students the opportunity to study in Paris during cinema, newspaper articles, poems, and short their junior or senior year. This may include students stories. This class will meet three times a week; it who start at the beginning level in their first eary at will not include individual conference meetings, but Sarah Lawrence, provided that they fully dedicate 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, weekly French lunch table and French film with all courses taught in French and with the screenings are both highly encouraged. Course possibility for students to take courses (with conducted in French. Students who successfully conference work) at French universities and other complete a beginning or intermediate-level French Parisian institutions of higher education. Our course are eligible to study in Paris with Sarah courses in Bronxville are, therefore, fairly intensive in Lawrence College the following year. order to bring every student to the level required to attend our program in Paris. 58 French Intermediate French I (Section I): analytic writing. Over the course of the year, we will French Identities study a series of scenes from French and Francophone literature from its origins to today. Eric Leveau From the 11th-century Chanson de Roland and lais of Open, Seminar—Year Marie de France to 20th-century works by writers This course will offer a systematic review of French Aminata Sow-Fall and Fatou Diome, we will look at grammar and is designed to strengthen and deepen scenes specific ot literature. What is it about literary students’ mastery of grammatical structures and scenes that differs from those created in other vocabulary. Students will also learn to begin to use media? And what happens when we encounter them linguistic concepts as tools for developing their as part of a class rather than on our own? Our analytic writing. More than other countries, France’s discussion will include points of comparison with identity was shaped by centuries of what is now scenes in visual media such as theatre and perceived by the French as a historically coherent photography. Readings will include works by Marie past. In this course, we will explore the complexities de Rabutin-Chantal (Madame de Sévigné), Madame of today’s French identity or, rather, identities, de La Fayette, Aloysius Bertrand, Flaubert, Léon- following the most contemporary controversies that Gontran Damas. We will also look at the daily press at have shaken French society in the past 20 years regular intervals. Becoming familiar with today’s while, at the same time, exploring historical issues will allow us to consider our own culture(s) in influences and cultural paradigms at play in these light of what we read. In this part of the course, we débats franco-français. Thus, in addition to will look at some of the questions being debated in newspapers, online resources, recent movies, and France today, such as climate change, immigration, songs, we will also study masterpieces of the past in transportation, food politics, laïcité, etc. In addition literature and in the arts. Topics discussed will to conferences, a weekly conversation session with a include, among others, school and laïcité, cuisine French language assistant(e) is required. Attendance and traditions, immigration and urban ghettos, at the weekly French lunch table and French film women and feminism in France, France’s relation to screenings are both highly encouraged. Course nature and the environment, the heritage of French conducted in French. Admission by placement test Enlightenment (les Lumières), devoir de mémoire, (to be taken during interview week at the beginning and the relation of France with dark episodes of its of the fall semester) or completion of Beginning history (slavery, Régime de Vichy and Nazi French. The Intermediate I and II French courses are occupation, Algerian war). Authors studied will specially designed to help prepare students for include Marie de France, Montaigne, Voltaire, Hugo, studying in Paris with Sarah Lawrence College during Flaubert, Proust, Colette, Duras, Césaire, Djebar, their junior year. Chamoiseau, and Bouraoui. In addition to conferences, a weekly conversation session with a French language assistant(e) is required. Attendance Intermediate French II: Fictions of at the weekly French lunch table and French film the Self: Writing in the First screenings are both highly encouraged. Course Person From Proust to Modiano conducted in French. Admission by placement test Intermediate, Seminar—Year (to be taken during interview week at the beginning This French course is designed for students who of the fall semester) or completion of Beginning already have a strong understanding of the major French. The Intermediate I and II French courses are aspects of French grammar and language but wish specially designed to help prepare students for to develop their vocabulary and their grasp of more studying in Paris with Sarah Lawrence College the complex aspects of the language. Students are following year. expected to be able to easily read more complex texts and to express themselves more abstractly. A Intermediate French I (Section II): major part of this course will be devoted to the study Scène(s) de littérature and discussion of literary texts in French. As contemporary French fiction is often seen as overly Ellen Di Giovanni centered on the “Moi,” a thinly veiled account of the Open, Seminar—Year author’s personal obsessions, and—as Patrick This course will offer a systematic review of French Modiano, winner of the 2014 Nobel Prize for grammar and is designed to strengthen and deepen literature, was acknowledged a few years ago for his students’ mastery of grammatical structures and unique blend of first-person memoir, fictionalized vocabulary. Students will also learn to begin to use family narrative, and ruminative historical linguistic concepts as tools for developing their enquiry—this course will offer an opportunity to go THE CURRICULUM 59 back to the origins of what appears to be a uniquely will turn to the early 20th century and the French way of approaching fiction. While narratives Surrealists, who transformed the exploration of are generally divided between fiction and nonfiction dreams and the unconscious into a revolutionary in the English-speaking world, this distinction is not artistic project. Here, students will read manifestos, as relevant in the French tradition, allowing for more poems, and narrative works that contested the reign blurry lines between truth and invention. Questioning of rationalism by seeking out the aesthetic and this division will be the main purpose of the course, political potential of madness and desire. Finally, we which will explore various forms of first-person will read works by contemporary French writers who writing across a spectrum ranging from traditional have revived the fantastic tradition in order to better autobiography to first-person novels casting the understand how and why a literature of the strange author’s life in a fictional mold—what the rF ench and irrational persists to this day. Authors to be call “auto-fiction.” Starting with Montaigne, studied could include Maupassant, Gautier, Balzac, Rousseau, and Stendhal, we will move to more Nerval, Villiers de l’Isle-Adam, Lautréamont, Breton, challenging first-person narratives, including works Aragon, Eluard, Ndiaye, Darrieussecq, and Echenoz. by Proust, and new forms of “auto-fiction” in Secondary readings will be drawn from feminist postwar France with authors such as Nathalie criticism, psychoanalysis, and narrative theory. In Sarraute, Jean Genet, and Samuel Beckett. Beyond this course, students will also review the finer points our main discussion on the frontiers between fiction of French grammar, improve their writing skills and nonfiction and the fictionalization of the self through regular assignments, and develop tools for that can be observed in autobiography, we will literary analysis and commentary. This course will be address the frontiers between autobiography and conducted in French. Admission by placement test other forms of first-person writing such as memoirs, (to be taken during interview week at the beginning letters, and the journal. Students will read excerpts, of the fall semester) or after completion of as well as complete works (for shorter works only). Intermediate II. Students will improve their writing skills through regular assignments. They will also develop tools for Other courses of interest are listed below. Full literary analysis and will be introduced to the French descriptions of the courses may be found under the essay format. Course conducted entirely in French. appropriate disciplines. Admission by placement test (to be taken during interview week at the beginning of the fall semester) Lift Up Your Hearts: Art and Architecture of the or completion of Intermediate I. The Intermediate I Baroque—Europe and Its Colonies, and II French courses are specially designed to help 1550–1700 (p. 10), Joseph C. Forte Art History prepare students for studying in Paris with Sarah Paris: A History Through Art, Architecture, and Urban Lawrence College the following year. Planning (p. 13), Jerrilynn Dodds Art History Postwar: Europe on the Move (p. 70), Philipp Nielsen History Intermediate French III/Advanced Comparative Literary Studies and Its Others (p. 94), French: The Fantastic, the Surreal, Bella Brodzki Literature and the Eerie First-Year Studies: Modern Myths of Paris (p. 90), Jason Earle Jason Earle Literature Intermediate/Advanced, Seminar—Fall The Occupation and Its Aftermath in French France is often thought of as a nation of reason, the Literature and Film (p. 96), Bella Brodzki , Jason intellectual birthplace of Descartes’s philosophical Earle Literature method and the Enlightenment project of the 18th- century philosophes. Yet there exists an equally strong tendency in French literature toward the GAMES, INTERACTIVE ART, AND shadows, the irrational, and the occult. This seminar will explore that underbelly of French thought by NEW GENRES focusing on three different periods. First, we will Games, interactive art, and new genres span trace how a strain of “romantisme offerings in visual arts, film and media, and noir”—characterized by dreams, hauntings, ruins, computer science to foster technical and digital and vampires—emerged in the 19th century as a literacy in the arts. Designed for experimentation, reaction to the turmoil of the French Revolution and this initiative helps students establish digital Industrial Revolution. The genres of the fantastic proficiency while supporting the exploration of a and cruel tales will be studied in depth as crucial wide range of new media forms and technologies. counterpoints to realist fiction. Second, our attention 60 Gender and Sexuality Studies Courses of study might include visual programming, GENDER AND SEXUALITY artificial intelligence, gaming, robotics, experimental animation, computer arts, experimental media STUDIES design, data visualization, real-time interactivity, digital signal processing, cross-platform media The gender and sexuality studies curriculum environments, and mobile media development. comprises courses in various disciplines and focuses Students are encouraged to coordinate these on new scholarship on women, sex, and gender. project-based investigations of the digital Subjects include women’s history; feminist theory; throughout their studies in the humanities, including the psychology and politics of sexuality; gender literature, philosophy, politics, sociology, theatre, constructs in literature, visual arts, and popular and writing. culture; and the ways in which gender, race, class, and sexual identities intersect for both women and Courses offered in related disciplines this year are men. This curriculum is designed to help all students listed below. Full descriptions of the courses may be think critically and globally about sex-gender found under the appropriate disciplines. systems and to encourage women, in particular, to think in new ways about themselves and their work. Computer Organization (p. 28), Michael Siff Undergraduates may explore women’s studies Computer Science in lectures, seminars, and conference courses. Introduction to Computer Science: The Way of the Advanced students may also apply for early Program (p. 27), James Marshall Computer admission to the College’s graduate program in Science women’s history and, if admitted, may begin work The Actor’s Voice Over: An Intensive Exploration of toward the master of arts degree during their senior Voice Work (p. 56), Doug MacHugh Filmmaking year. The MA program provides rigorous training in and Moving Image Arts historical research and interpretation. It is designed Discrete Mathematics: Gateway to Higher for students pursuing careers in academe, advocacy, Mathematics (p. 102), Daniel King Mathematics policymaking, and related fields. The Psychological Impact of Art (p. 135), Alison Jane Martingano Psychology Courses offered in related disciplines this year are 3D Modeling (p. 174), Shamus Clisset Visual and listed below. Full descriptions of the courses may be Studio Arts found under the appropriate disciplines. Art From Code (p. 174), Angela Ferraiolo Visual and Studio Arts On Whiteness: An Anthropological Exploration (p. 6), Beginning Games: Level Design (p. 174), Angela Mary A. Porter Anthropology Ferraiolo Visual and Studio Arts Telling Lives: Life History Through Intermediate Games: Radical Game Design (p. 174), Anthropology (p. 7), Mary A. Porter Angela Ferraiolo Visual and Studio Arts Anthropology Introduction to Digital Imaging (p. 173), Shamus First-Year Studies: Histories and Theories of Clisset Visual and Studio Arts Photography (p. 10), Sarah Hamill Art History Media Burn: Moving Image Installation in Histories of Modern and Contemporary Art (p. 11), Practice (p. 175), Jenny Perlin Visual and Studio Sarah Hamill Art History Arts Feminist Economics (p. 37), Kim Christensen New Genres: Drawing Machines (p. 174), Angela Economics Ferraiolo Visual and Studio Arts Introduction to Animation Studies (p. 43), Jason New Genres: Interactive Art (p. 175), Angela Ferraiolo Douglass Film History Visual and Studio Arts Diversity and Equity in Education: Issues of Gender, New Genres: Cultural HiJack (p. 174), Angela Ferraiolo Race, and Class (p. 78), Nadeen M. Thomas Visual and Studio Arts History The Ideas of Photography (p. 176), Joel Sternfeld Women, Culture, and Politics in US History (p. 78), Visual and Studio Arts Lyde Cullen Sizer History The New Narrative Photography (p. 176), Joel Women and Gender in the Middle East (p. 75), Sternfeld Visual and Studio Arts Matthew Ellis History First-Year Studies: Literature, Culture, and Politics in US History, 1770s–1970s (p. 68), Lyde Cullen Sizer History Gender, Race, and Media: Historicizing Visual Culture (p. 79), Rachelle Sussman Rumph History THE CURRICULUM 61

Who Tells Your Story? Cultural Memory and the Our World, Other Worlds (p. 180), Myra Goldberg Mediation of History (p. 79), Rachelle Sussman Writing Rumph History Poetry: What Holds the Unsayable (p. 186), Marie Perverts in Groups: Queer Social Lives (p. 87), Julie Howe Writing Abraham Lesbian, Gay, Bisexual, and The Kids Are All Right: Fiction Workshop (p. 181), Transgender Studies Leah Johnson Writing Pretty, Witty, and Gay (p. 88), Julie Abraham Lesbian, Gay, Bisexual, and Transgender Studies Engendering the Body: Sex, Science, and Trans Embodiment (p. 87), Emily Lim Rogers Lesbian, GEOGRAPHY Gay, Bisexual, and Transgender Studies Geography is fundamentally an interdisciplinary Global Queer Literature: Dystopias and Hope (p. 86), field, often seen as straddling the natural and social Shoumik Bhattacharya Lesbian, Gay, Bisexual, sciences and increasingly drawing upon the arts and and Transgender Studies other forms of expression and representation. For Austen Inc.: 18th-Century Women Writers (p. 99), these reasons, Sarah Lawrence College provides an James Horowitz Literature exciting context, as the community is predisposed to Doing It for the Culture: Journeys Through welcome geography’s breadth and interdisciplinary Revelation, Aspiration, and Soul (p. 93), Marcus qualities. Geography courses are infused with the Anthony Brock Literature central questions of the discipline. What is the Slavery: A Literary History (p. 97), William relationship between human beings and “nature”? Shullenberger Literature How does globalization change spatial patterns of An Introduction to Statistical Methods and historical, political, economic, social, and cultural Analysis (p. 100), Daniel King Mathematics human activities? And how do these patterns The Philosophy of Music (p. 105), Martin Goldray provide avenues for understanding our Music contemporary world and pathways for the future? Introduction to Social Theory: Philosophical Tools for Two seminars are taught on a regular basis: Critical Social Analysis (p. 117), David Peritz Introduction to Development Studies: The Political Philosophy Ecology of Development and The Geography of Democracy, Diversity, and (In)equality (p. 126), Contemporary China and Its Place in a Globalizing David Peritz Politics World Economy. Challenges to Development: Child and Adolescent As a discipline built on field study, students in Psychopathology (p. 140), Jan Drucker geography classes participate in field trips—most Psychology recently, for example, to farming communities in Intersectionality Research Seminar (p. 138), Pennsylvania but also to Manhattan’s Chinatown, Linwood J. Lewis Psychology where students engage aspects of Chinese culture in “Sex Is Not a Natural Act”: Social Science walks through the community that expose the Explorations of Human Sexuality (p. 130), heterogeneity of China through food, art, religion, Linwood J. Lewis Psychology and language while simultaneously clarifying the Changing Places: Sociospatial Dimensions of challenges facing recent immigrants and legacies of Urbanization (p. 151), Shahnaz Rouse Sociology institutions imbued with racism that are carved into Travel and Tourism: Economies of Pleasure, Profit, the built environment. That is one of the overarching and Power (p. 153), Shahnaz Rouse Sociology goals of contemporary geography: to investigate the Media Burn: Moving Image Installation in ways that landscape and place both reflect and Practice (p. 175), Jenny Perlin Visual and Studio reproduce the evolving relationship of humans to Arts each other and to their environments. The Ideas of Photography (p. 176), Joel Sternfeld Visual and Studio Arts The New Narrative Photography (p. 176), Joel Food, Agriculture, Environment, Sternfeld Visual and Studio Arts and Development First-Year Studies: Ecopoetry: Poetry in Relation to Joshua Muldavin the Living World (p. 179), Marie Howe Writing Open, Lecture—Year First-Year Studies: Writing and the Racial Where does the food we eat come from? Why do Imaginary (p. 178), Rattawut Lapcharoensap some people have enough food to eat and others do Writing not? Are there too many people for the world to Nonfiction orkW shop: To Tell the Truth (p. 183), feed? Who controls the world’s food? Will global food Suzanne Gardinier Writing prices continue their recent rapid rise? If so, what 62 Geography will be the consequences? What are the environment, agriculture, resource extraction environmental impacts of our food production treaties, the changing role of the state, and systems? How do answers to these questions differ competing conceptualizations of territoriality and by place or by the person asking the question? How control. We will end with discussions of emergent have the answers changed over time? This course local, regional, and transnational coalitions for food will explore the following fundamental issue: the self-reliance and food sovereignty, alternative and relationship between development and the community supported agriculture, community-based environment, focusing in particular on agriculture resource management systems, sustainable and the production and consumption of food. The development, and grassroots movements for social questions above often hinge on the contentious and environmental justice. Films, multimedia debate concerning population, natural resources, materials, and distinguished guest lectures will be and the environment. Thus, we will begin by critically interspersed throughout the course. One farm/ assessing the fundamental ideological positions and factory field trip is possible in each semester, if philosophical paradigms of “modernization,” as well funding permits. The lecture participants may also as the critical counterpoints, that lie at the heart of take a leading role in a campus-wide event on “food this debate. Within this context of competing sets of and hunger,” tentatively planned for the spring. philosophical assumptions concerning the Please mark your calendars when the dates are population-resource debate, we will investigate the announced, as attendance for all of the above is concept of “poverty” and the making of the “Third required. Attendance and participation are also World,” access to food, hunger, grain production and required at special guest lectures and film viewings food aid, agricultural productivity (the green and in the Social Science Colloquium Series, gene revolutions), biofuels, the role of transnational approximately once per month. The Web Board is an corporations (TNCs), the international division of important part of the course. Regular postings of labor, migration, globalization and global commodity short essays will be made there, as well as followup chains, and the different strategies adopted by commentaries with your colleagues. There will be in- nation-states to “develop” natural resources and class essays, a midterm quiz, and a final xe am each agricultural production. Through a historical semester. Group conferences will focus on in-depth investigation of environmental change and the analyses of certain course topics and will include biogeography of plant domestication and dispersal, debates and small group discussions. You will we will look at the creation of indigenous, prepare a poster project each semester on a topic of subsistence, peasant, plantation, collective, and your choice, related to the course; the poster will be commercial forms of agriculture. We will analyze the presented at the end of each semester in group physical environment and ecology that help shape, conference, as well as at a potential public session. but rarely determine, the organization of resource use and agriculture. Rather, through the dialectical The Geography of Contemporary rise of various political-economic systems—such as feudalism, slavery, mercantilism, colonialism, China: A Political Ecology of capitalism, and socialism—we will study how Reform, Global Integration, and humans have transformed the world’s environments. Rise to Superpower We will follow with studies of specific issues: Joshua Muldavin technological change in food production; Open, Seminar—Fall commercialization and industrialization of Despite widespread daily reporting on China’s rise to agriculture and the decline of the family farm; food superpower status—and both its challenge to and and public health, culture, and family; land grabbing necessary partnership with the United States—what and food security; the role of markets and do we really know about the country? In this transnational corporations in transforming the seminar, we will explore China’s evolving place in the environment; and the global environmental changes world through political-economic integration and stemming from modern agriculture, dams, globalization processes. Throughout the seminar, we deforestation, grassland destruction, desertification, will compare China with other areas of the world biodiversity loss, and the interrelationship with within the context of the broader theoretical and climate change. Case studies of particular regions thematic questions mentioned below in detail. We and issues will be drawn from Africa, Latin America, will consistently focus our efforts on reframing Asia, Europe, and the United States. The final part of debates, both academic and in mass media, to the course examines the restructuring of the global enable new insights and analyses not only economy and its relation to emergent international concerning China but also in terms of the major laws and institutions regulating trade, the global questions—in theory, policy, and practice—of THE CURRICULUM 63 this particular historical moment. We will begin with leadership like never before. As China borders many an overview of contemporary China, discussing the of the most volatile places in the contemporary unique aspects of China’s modern history, and the world and increasingly projects its power to the far changes and continuities from one era to the next. corners of the planet, we will conclude our seminar We will explore Revolutionary China and the with a discussion of global security issues, subsequent socialist period to ground the seminar’s geopolitics, and potential scenarios for China’s focus: post-1978 reform and transformation to the future. Weekly selected readings, films, mass media, present day. Rooted in the questions of agrarian and books will be used to inform debate and change and rural development, we will also study discussion. A structured conference project will seismic shifts in urban and industrial form and integrate closely with one of the diverse topics of China’s emergence as a global superpower on its the seminar. Some experience in the social sciences way to becoming the world’s largest economy. We is desirable but not required. Advanced first-year will analyze the complex intertwining of the students are welcome to interview. environmental, political-economic, and sociocultural aspects of these processes, as we interpret the Introduction to Development geography of contemporary China. Using a variety of theoretical perspectives, we will analyze a series of Studies: The Political Ecology of contemporary global debates: Is there a fundamental Development conflict between the environment and rapid Joshua Muldavin development? What is the role of the peasantry in Intermediate, Seminar—Spring the modern world? What is the impact of different In this intermediate seminar, we will begin by forms of state power and practice? How does examining competing paradigms and approaches to globalization shape China’s regional transformation? understanding “development” and the “Third World.” And, on the other hand, how does China’s global We will set the stage by answering the question: integration impact development in every other What did the world look like 500 years ago? The country and region of the world? Modern China purpose of this part of the course is to acquaint us provides immense opportunities for exploring key with and to analyze the historical origins and theoretical and substantive questions of our time. A evolution of a world political-economy, of which the product first and orf emost of its own complex "Third World" is an intrinsic component. We will thus history, other nation-states and international actors study the transition from feudalism to capitalism, and institutions—such as the World Bank, the rise of merchant and finance capital, and the transnational corporations, and civil society—have colonization of the world by European powers. We also heavily influenced China. The “China model” of will analyze case studies of colonial "development" rapid growth is widely debated in terms of its to understand the evolving meaning of the term. The efficacy as a development pathway and, yet, defies case studies will also help us assess the varied simple understandings and labels. Termed legacies of colonialism apparent in the emergence of everything from neoliberalism, to market socialism, new nations through the fitful and uneven process to authoritarian Keynesian capitalism, China is a of decolonization that followed. The next part of the model full of paradoxes and contradictions. Not least course will look at the United Nations and the role of these is the country's impact on global climate some of its associated institutions have played in the change. Other challenges include changing gender post-World War II global political-economy, one relations, rapid urbanization, and massive internal marked by persistent and intensifying migration. In China today, contentious debates socioeconomic inequalities as well as frequent continue on land reform, the pros and cons of global outbreaks of political violence across the globe. By market integration, the role of popular culture and examining the development institutions that have the arts in society, how to define ethical behavior, emerged and evolved since 1945, we will attempt to the roots of China’s social movements—from unravel the paradoxes of development in different Tian’anmen to current widespread social unrest and eras. We will deconstruct the measures of discontent among workers, peasants, students, and development through a thematic exploration of intellectuals—and the meaning and potential population, resource use, poverty, access to food, the resolution of minority conflicts in China’s environment, agricultural productivity, urbanization, hinterlands. Land and resource grabs in China and industrialization, and different development abroad are central to China’s rapid growth and role strategies adopted by Third World nation-states. We as an industrial platform for the world, but the will then examine globalization and its relation to resulting social inequality and environmental emergent international institutions and their degradation challenge the legitimacy of China’s policies; for example, the IMF, World Bank, AIIB, and 64 German WTO. We will then turn to contemporary development Conscience of the Nations: Classics of African debates and controversies that increasingly find Literature (p. 95), William Shullenberger space in the headlines—widespread land grabbing Literature by sovereign wealth funds, China, and hedge funds; An Introduction to Statistical Methods and the “global food crisis”; and the perils of climate Analysis (p. 100), Daniel King Mathematics change, as well as the potential of “a new green Introduction to Social Theory: Philosophical Tools for deal.” Throughout the course, our investigations of Critical Social Analysis (p. 117), David Peritz international institutions, transnational Philosophy corporations, the role of the state, and civil society Democracy, Diversity, and (In)equality (p. 126), will provide the backdrop for the final ocusf of the David Peritz Politics class—the emergence of regional coalitions for self- Food Environments, Health, and Social reliance, environmental and social justice, and Justice (p. 136), Magdalena Ornstein-Sloan sustainable development. Our analysis of Psychology development in practice will draw upon case studies Changing Places: Sociospatial Dimensions of from Africa, Asia, Latin America and the Caribbean, Urbanization (p. 151), Shahnaz Rouse Sociology Europe, and the United States. Conference work will Travel and Tourism: Economies of Pleasure, Profit, be closely integrated with the themes of the course, and Power (p. 153), Shahnaz Rouse Sociology with a two-stage substantive research project. Drawing From Nature (p. 176), Gary Burnley Visual Project presentations will incorporate a range of and Studio Arts formats, from traditional papers to multimedia First-Year Studies: Ecopoetry: Poetry in Relation to visual productions. Where possible and feasible, the Living World (p. 179), Marie Howe Writing students will be encouraged to do primary research over spring break. Some experience in the social sciences is desirable but not required. GERMAN

Other courses of interest are listed below. Full As the official language of theeder F al Republic of descriptions of the courses may be found under the Germany, Austria, Liechtenstein, and portions of appropriate disciplines. several other European countries—and with On Whiteness: An Anthropological Exploration (p. 6), linguistic enclaves in the Americas and Mary A. Porter Anthropology Africa—German is today the native tongue of close Economics of Environmental Justice: People, Place, to 120 million people. For advanced-degree programs and Power (p. 37), An Li Economics in fields such as art history, music history, Economics of the Environment and Natural philosophy, and European history, German is still a Resources: Market Failures, Capitalism, and required language. And whether the motivation for Solutions (p. 36), An Li Economics study is business, culture, travel, friendship, or History of Economic Thought and Economic History: heritage, a knowledge of German can add Economic and Legal Foundations (p. 36), inestimable depth to a student’s landscape of Jamee K. Moudud Economics thought and feeling. Introduction to Economic Theory and Policy (p. 36), Students should ideally plan to study German Jamee K. Moudud Economics for at least two years. First- and second-year German Legal Foundations to Business History: Corporate courses aim to teach students how to communicate Governance, Democracy, and Economic in German and acquire grammatical competency Transformation (p. 38), Jamee K. Moudud through exercises that demand accuracy and also Economics encourage free expression. While conference work in First-Year Studies: Introduction to Environmental Beginning German consists of intensive grammar Studies: Cultures of Nature (p. 39), Charles work with the German assistant (both group and Zerner Environmental Studies individual conferences), intermediate-level students Introduction to Property: Cultural and Environmental work on their cultural competency by reading Dimensions (p. 40), Charles Zerner German literature (fairy tales, novellas, poems) and Environmental Studies working on class, group, or individual research Postwar: Europe on the Move (p. 70), Philipp Nielsen projects (e.g., writing a short story or screenplay in History German, exploring German cities online, reading Public Stories, Private Lives: Theories and Methods newspaper articles on current events). Advanced of Oral History (p. 78), Mary Dillard History German is a cultural-studies seminar. Students solidify their cultural competency by studying THE CURRICULUM 65

German history and culture from the late 18th accessible and promote an understanding of the century to the present. A special emphasis is placed culture’s fundamental values and way of looking at on 20th-century German history and culture, the world. A solid grammar review, based on the including contemporary German literature and film. book German Grammar in Review, will help students Many students of German spend a semester or further improve their speaking and writing skills. year studying in Germany. Students have the Regular conferences with Ms. Mizelle will opportunity to take a 5-week summer seminar in supplement class work, help improve fluency and Berlin (6 credits), where they will take a German pronunciation, and emphasize conversational cultural-studies seminar with an emphasis on the conventions for expressing opinions and leading history and culture of Berlin and a class in art/ discussions. Prerequisite: Beginning German at Sarah architecture, dance, or the German language (taught Lawrence College or another institution of higher at Neue Schule in Berlin). learning or at least four semesters of German in high school. Beginning German Nike Mizelle Postwar German Literature and Open, Seminar—Year Film This course concentrates on the study of grammar, vocabulary, and pronunciation in order to secure the Roland Dollinger basic tools of the German language. In addition to Advanced, Seminar—Fall offering an introduction to German grammar and In this seminar, we will focus on postwar German vocabulary, classroom activities and the production literature from 1945 to the present. As we read of short compositions promote oral and written poems, plays, prose fiction, and essays by writers communication. This class will meet three times (90 such as Anonyma, Borchert, Böll, Celan, Dürrenmatt, minutes) per week. Ms. Mizelle will also meet with Max Frisch, Peter Weiss, Bernhard Schlink, and students individually or in small groups for an extra others, we will give special attention to: (1) social conference. Course materials include the textbook, and cultural problems in Germany right after the Neue Horizonte, along with a workbook and a graded war; (2) how German writers have dealt with German reader that will allow students to start National Socialism and the Holocaust; (3) German reading in German after the first eekw . We will cover reunification; and (4) German-Turkish issues. We will at least 12 chapters from the textbook—all of the also watch films such as Mörder unter uns, one of basic grammar and vocabulary that students will the earliest movies in Germany after World War II; need to know in order to advance to the next level. Deutschland, bleiche Mutter, a film about life in There will be short written tests at the end of each Germany during and after World War II; Das Leben der Anderen, a film about the secret police in East chapter. Students will also be introduced to contemporary German culture through authentic Germany; Gegen die Wand, a movie that explores the materials from newspapers, television, radio, or the lives of German-Turkish citizens in Germany and in Internet. Turkey; and Walk on Water, an Israeli-German production about the legacy of the Holocaust for young Israelis and Germans. This course consists of Intermediate German three equally important components: Students will Nike Mizelle have one seminar with Mr. Dollinger, who will discuss Intermediate, Seminar—Year the class materials with students in German; one This course places strong emphasis on expanding seminar with Ms. Mizelle, who will work with vocabulary and thoroughly reviewing grammar, as students collectively on various grammar and well as developing oral and written expression. The vocabulary issues; and one biweekly individual aim of the course is to give students more fluency conference with Mr. Dollinger. This seminar is and to prepare them for a possible junior year in conducted entirely in German. Students must Germany. Readings in the fall will consist of fairy demonstrate advanced language skills during tales, short stories, poems, and three novellas by the registration in order to be permitted into this class. Austrian writer Stefan Zweig. Students will give several oral presentations—on a fairy tale, a German city, a German artist or intellectual. In the spring semester, we will use Im Spiegel der Literatur, a collection of short stories written by some of the most famous German writers, such as Thomas Mann and Bertolt Brecht. All materials are linguistically 66 Greek (Ancient) Advanced German: Exile and GREEK (ANCIENT) Emigration, 1933–1950 Roland Dollinger The Sarah Lawrence College classics program Advanced, Seminar—Spring emphasizes the study of the languages and In this course, we will explore the lives and works of literature of Ancient Greece and Rome. Greek and several prominent German and German-Jewish Latin constitute an essential component of any intellectuals and writers who escaped from Nazi humanistic education, enabling students to examine Germany. We will study the existential situation and the foundations of Western culture and explore meaning of “being in exile” and how the topos of timeless questions concerning the nature of the “exile” is reflected in the works of those German world, the place of human beings in it, and the refugees. We will also look at the networks (or lack components of a life well lived. In studying the thereof) that German and German-Jewish exile literature, history, philosophy, and society of the writers built with native New Yorkers. Reading Ancient Greeks and Romans, students come to excerpts from German exile newspapers, The New appreciate them for themselves, examine the York Times, and various other publications will help continuity between the ancient and modern worlds, us undertand the historical context of life in New and, perhaps, discover “a place to stand”—an York City between 1933 and 1950. Several trips to objective vantage point for assessing modern relevant museums and archives in New York City will culture. give students the opportunity to learn the practical In their first eary of study, students acquire work of historical and literary research. This course proficiency in vocabulary, grammar, and syntax, with consists of three equally important components: the aim of reading accurately and with increasing Students will have one seminar with Mr. Dollinger, insight. Selected passages of ancient works are read who will discuss the class materials with students in in the original languages almost immediately. German; one seminar with Ms. Mizelle, who will work Intermediate and advanced courses develop with students collectively on various grammar and students’ critical and analytical abilities while vocabulary issues; and one biweekly individual exploring ancient works in their literary, historical, conference with Mr. Dollinger. This seminar is and cultural context. Conference projects provide conducted entirely in German. Students must opportunities for specialized work in areas of demonstrate advanced language skills during interest in classical antiquity. Recent conference registration in order to be permitted into this class. projects have included close readings of Homer’s Iliad, Aristophanes’s Clouds, Pindar’s Odes, Plato’s Republic, Cicero’s de Amicitia, the poetry of Catullus, Other courses of interest are listed below. Full and Virgil’s Aeneid, as well as studies of modern descriptions of the courses may be found under the theories of myth, Nietzsche’s Birth of Tragedy (in appropriate disciplines. connection with the tragedies of Aeschylus, Democracy and Emotions in Postwar Sophocles and Euripides), the social implications of Germany (p. 78), Philipp Nielsen History Roman domestic architecture, and a comparison of History and Memory on Screen: The Third Reich in Euripides’s Hippolytus with Racine’s Phèdre. Film, From The Great Dictator to Inglorious Greek and Latin will be especially beneficial orf Basterds (p. 76), Philipp Nielsen History students interested in related disciplines, including Postwar: Europe on the Move (p. 70), Philipp Nielsen religion, philosophy, art history, archaeology, history, History political science, English, comparative literature, and The Third Reich: Its History and Its Images (p. 69), medieval studies, as well as education, law, Philipp Nielsen History medicine, and business. Greek and Latin can also Comparative Literary Studies and Its Others (p. 94), prove valuable to all those who wish to enrich their Bella Brodzki Literature imagination in the creative pursuits of writing, First-Year Studies: German Cultural Studies From dance, music, visual arts, and acting. 1871–Present (p. 90), Roland Dollinger Literature Beginning Greek Emily Katz Anhalt Open, Seminar—Year This course provides an intensive introduction to Ancient Greek grammar, syntax, and vocabulary, with the aim of reading the language as soon as possible. By mid-semester in the fall, students will be reading THE CURRICULUM 67 authentic excerpts of Ancient Greek poetry and This focus of study may be of interest to prose. Students will also read and discuss selected students interested in the health professions, works of Plato, Aristophanes, Thucydides, and Ps.- including pre-med, nursing, or allied professions Xenophon in English. During the spring semester, such as physical therapy, allowing them to combine while continuing to refine their grammar and courses in the natural sciences with explorations of reading skills, students will read extended selections the social sciences, arts, and humanities. Similarly, of Plato’s Apology in the original Greek. students in the arts and humanities who are interested in health and illness may find that Other courses of interest are listed below. Full incorporating science and social science into their descriptions of the courses may be found under the educational program enables them to achieve a appropriate disciplines. greater depth of understanding and expression in their work. Beginning Latin (p. 85), Laura Santander Latin The health, science, and society program offers Comparative Literary Studies and Its Others (p. 94), undergraduate students the unique opportunity to Bella Brodzki Literature take advantage of Sarah Lawrence College’s First-Year Studies: The Perils of Passion: Ancient nationally recognized graduate master’s programs in Greek History for Today’s Troubled Human Genetics and Health Advocacy, both of which Times (p. 89), Emily Katz Anhalt Literature are the first such graduate programs offered in the Ancient Philosophy (Aristotle) (p. 119), Michael Davis country. Events and programs are also coordinated Philosophy with the graduate programs in Art of Teaching and First-Year Studies: The Origins of Philosophy (p. 116), Child Development and in collaboration with the Roy Ben-Shai Philosophy Child Development Institute. Greek Tragedy: Electras (p. 118), Michael Davis Philosophy Courses offered in related disciplines this year are listed below. Full descriptions of the courses may be found under the appropriate disciplines. HEALTH, SCIENCE, AND SOCIETY General Biology Series: Genes, Cells, and Evolution (p. 19), Drew E. Cressman Biology Health, science, and society is a cluster of Virology (p. 21), Drew E. Cressman Biology undergraduate and graduate courses, programs, and Introduction to Genetics (p. 19) Biology events that address the meaning of health and General Chemistry I: An Introduction to Chemistry illness, advocacy for health and health care, and and Biochemistry (p. 22), Colin D. Abernethy structures of medical and scientific knowledge. Chemistry Courses and events are multidisciplinary, bringing General Chemistry II: An Introduction to Chemistry together perspectives from the humanities, creative and Biochemistry (p. 23), Colin D. Abernethy arts, social sciences, and natural sciences. Chemistry Undergraduate students who are interested in Nutrition (p. 23), Mali Yin Chemistry health, science, and society are encouraged to take Organic Chemistry I (p. 24), Mali Yin Chemistry courses across the curriculum and to design Organic Chemistry II (p. 24), Mali Yin Chemistry interdisciplinary conference projects. The Chemistry of Everyday Life (p. 23), Mali Yin Over the past 25 years, as health and disease Chemistry have been examined from social, economic, political, Economics of Environmental Justice: People, Place, and historical perspectives, there has been an and Power (p. 37), An Li Economics increased awareness of the ways in which Economics of the Environment and Natural definitions of disease are framed in relation to the Resources: Market Failures, Capitalism, and values, social structures, and bases of knowledge of Solutions (p. 36), An Li Economics particular communities. Globalization has required History of Economic Thought and Economic History: us to understand health and disease as crucial Economic and Legal Foundations (p. 36), international issues, and environmental health is Jamee K. Moudud Economics increasingly seen to be a matter of policy that has Introduction to Economic Theory and Policy (p. 36), significantly differential effects on different Jamee K. Moudud Economics populations. Public talks and events are regularly Legal Foundations to Business History: Corporate scheduled to bring together undergraduate and Governance, Democracy, and Economic graduate faculty and students to consider these Transformation (p. 38), Jamee K. Moudud questions of health, medicine, and scientific Economics knowledge from a broad variety of perspectives. 68 History First-Year Studies: Introduction to Environmental First-Year Studies: Ecopoetry: Poetry in Relation to Studies: Cultures of Nature (p. 39), Charles the Living World (p. 179), Marie Howe Writing Zerner Environmental Studies Poetry: What Holds the Unsayable (p. 186), Marie Engendering the Body: Sex, Science, and Trans Howe Writing Embodiment (p. 87), Emily Lim Rogers Lesbian, Gay, Bisexual, and Transgender Studies An Introduction to Statistical Methods and Analysis (p. 100), Daniel King Mathematics HISTORY Calculus I: The Study of Motion and Change (p. 101), The history curriculum covers the globe. Most Philip Ording Mathematics courses focus on particular regions or nations, but Calculus II: Further Study of Motion and offerings also include courses that transcend Change (p. 102), Philip Ording Mathematics geographical boundaries to examine subjects such Strange Universes: An Introduction to Non-Euclidean as African diasporas, Islamic radicalism, or European Geometry (p. 101), Philip Ording Mathematics influences on US intellectual history. Some courses 20th-Century Physics Through Three Pivotal are surveys—of colonial Latin America, for example, Papers (p. 121), Merideth Frey Physics or Europe since World War II. Others zero in on more Classical Mechanics (Calculus-Based General specific opics,t such as medieval Christianity, the Physics) (p. 120), Merideth Frey Physics Cuban revolution, urban poverty and public policy in Electromagnetism and Light (Calculus-Based the United States, or feminist movements and General Physics) (p. 121), Merideth Frey Physics theories. While history seminars center on reading Resonance and Its Applications (p. 121), Merideth and discussion, many also train students in aspects Frey Physics of the historian’s craft, including archival research, Challenges to Development: Child and Adolescent historiographic analysis, and oral history. Psychopathology (p. 140), Jan Drucker Psychology Cultural Psychology of Development (p. 139), First-Year Studies: Literature, Barbara Schecter Psychology Culture, and Politics in US History, Global Child Development (p. 136), Kim Ferguson 1770s–1970s (Kim Johnson) Psychology Lyde Cullen Sizer Mindfulness: Neuroscientific and Psychological Open, FYS—Year Perspectives (p. 133), Elizabeth Johnston This is an interdisciplinary course in which we use Psychology literature and other cultural texts to illuminate a “Sex Is Not a Natural Act”: Social Science history of ideas and politics in the United States. The Explorations of Human Sexuality (p. 130), course is premised on a series of assumptions: First, Linwood J. Lewis Psychology the public words and stories that Americans choose Theories of Development (p. 139), Barbara Schecter to tell reflect ideas, oncc erns, presumptions, and Psychology intentions about their time period; that they do, Remedies to Epidemics: Understanding Substances intentionally and unintentionally, "political work" in That Can Heal or Harm (p. 134), David Sivesind revealing the world in the way that they shore up, Psychology modify, or work to change power structures. Second, Who am I? Clinical Perspectives on Psychology of this course assumes that you, the reader, have some the Self (p. 131), David Sivesind Psychology sense of context for these stories (or that you will Sleep and Health (p. 130), Meghan Jablonski work to acquire one) and, therefore, have some Psychology sense of how the stories reflect the material world Food Environments, Health, and Social that they seek to change. Novels, stories, memoirs, Justice (p. 136), Magdalena Ornstein-Sloan and critical essays all derive from a single vantage Psychology point and, hence, need to be understood as one voice The Psychological Impact of Art (p. 135), Alison Jane in a larger conversation coming from a particular Martingano Psychology time and a particular place. Third, these readings are The Social Brain (p. 133), Alison Jane Martingano largely primary sources and are always paired with a Psychology secondary source chapter, article, or introduction. Politics of Health (p. 150), Sarah Wilcox Sociology This pairing presumes a desire on your part to The Ideas of Photography (p. 176), Joel Sternfeld grapple with the material of this moment yourselves, Visual and Studio Arts to write history as well as to read it. Themes of The New Narrative Photography (p. 176), Joel particular significance will include the construction Sternfeld Visual and Studio Arts of national identity, class consciousness, the THE CURRICULUM 69 experience and meaning of immigration, slavery and Who Owns History? Reclaiming the particularly race, and the political significance of Master Narrative From White gender and sexuality. Conference projects in the fall will focus on history and literature to 1900; in the Supremacy spring, on history and literature up to just yesterday. Komozi Woodard Open, Lecture—Year Is history solely possessed by the rich and powerful? First-Year Studies: The Or did poor people ever have their say? Is history the Disreputable 16th Century story of a “master race” or the history of all of Philip Swoboda humanity? Do oppressed people matter? What voices Open, FYS—Year count in the making of history? Who owns history? Sixteenth-century Europeans shared a variety of For more than a century, the master narrative of the fundamental beliefs about the world that a secular- Atlantic slave trade, American slavery, American minded Westerner of today is likely to find freedom, and black Reconstruction after the Civil “disreputable”—intellectually preposterous, morally War was monopolized by white supremacy. The outrageous, or both. Almost all well-educated people antiracist history and historians were banned not believed that the Earth was the unmoving center of only from white colleges and universities but also the universe, around which the heavenly bodies from the educational establishment and academic revolved; that human destinies were dictated, at journals. A new history is challenging the monopoly least to some extent, by the influence of the planets of white supremacy on the master narrative, and and stars; that the welfare of their communities was that new history is reclaiming the American past. threatened by the maleficent activities of witches; This lecture introduces those new voices against the and that rulers had a moral duty to compel their so-called master race. African Americans, Mexican subjects to practice a particular religion. In this Americans, and Asian Americans—as well as course, we will examine 16th-century ideas on these indigenous, immigrant and working people—are and other topics and see how these beliefs fit reclaiming the making of American democracy and together to form a coherent picture of the world. We the story of world history. will also look at the writings of pioneer thinkers—Machiavelli, Montaigne, Galileo—who The Third Reich: Its History and Its began the process of dismantling this world- conception and replacing it with a new one closer to Images our own. It is not only ideas, however, that render the Philipp Nielsen 16th century “disreputable” to modern eyes. Some of Open, Lecture—Fall history’s most notorious kings and queens ruled Ever since the defeat of the Third Reich, the term European states in this period—Henry VIII of England “Nazi” has served as a term to mark political with his six wives; Mary, Queen of Scots with her enemies—though in the 1980s the term also three husbands; Philip II of Spain, patron of the acquired a more ironic edge, think of Seinfeld’s Inquisition; Ivan the Terrible, slaughterer of his own “soup Nazi.” The accusation, as well as the ascription nobility. This was also the era of the most of the moniker today, is as much grounded in scandalous of the popes—Alexander VI and Leo X. In historical reality as in mythmaking. But today, when the second half of the course, we will examine the real neo-Nazis are marching in the streets—for careers of these powerful 16th-century men and example, Charlottesville—and the “Death of women and of others like them. We will endeavor to Democracy” is debated, it has become paramount to make their appalling deeds humanly understand the actual history of the Third Reich: the comprehensible, partly by considering the specific policies, culture, and appeal, as much as the deeds historical circumstances in which these figures and destruction of National Socialism. This lecture acted and partly by exploring the notions of power, begins with the crisis of Weimar democracy and authority, morality, and order entertained by the ends with the aftermath of World War II and the Europeans of their age. attempts to (re)establish a democratic order in Europe. Students will be introduced to the policies of the Third Reich, both from the angle of National Socialists and from that of their victims. This history is a story of exclusion and inclusion; it is also a history of images. From the very beginning, the Third Reich used film ot present itself in more or less subtle forms of propaganda. But films also played an 70 History important role in defining the Third Reich from the how the tsars’ response to the Western challenge outside. Thus, in addition to the lectures, one weekly called into being a new, Europeanized elite, which in film screening will be held at which we will watch the 19th century grew restive under the tutelage of movies from the era produced by the Third Reich or its government and was increasingly attracted to its opponents. We will discuss these films in the liberal and socialist ideas. In the final eeksw of the context of the lectures during our group semester, we will consider the revolutionary conferences. upheavals that convulsed the Russian Empire in the early years of the 20th century and created the International Law conditions for the establishment in Russia of the world’s first socialist egime.r In group conferences, Mark R. Shulman students will discuss a wide range of primary Open, Lecture—Fall sources: saints’ lives, picaresque tales, classic works In a global landscape pocked by genocide, wars of of 19th-century poetry and fiction, and the writings choice, piracy, and international terrorism, what of leading revolutionary thinkers. good is international law? Can it mean anything without a global police force and a universal judiciary? Is “might makes right” the only law that Postwar: Europe on the Move works? Or is it true that “most states comply with Philipp Nielsen most of their obligations most of the time”? These Open, Lecture—Spring essential questions frame the contemporary When World War II ended, Europe was a continent of practice of law across borders. This lecture provides displaced peoples. It was a continent on the move: an overview of international law—its doctrine, returning POWs, emigrating Displaced Persons, theory, and practice. The course addresses a wide refugees, and arriving occupation soldiers. The range of issues, including the bases and norms of postwar period is sometimes dubbed a history of the international law, the law of war, human-rights unwinding of populations, the return or resettlement claims, domestic implementation of international following the logic of nation states. Yet the norms, treaty interpretation, and state formation/ assumption that, once that was done and the Cold succession. War started, populations stayed put until 1989 is misleading. Successive attempted revolutions in the Russia and Its Neighbors: From the East begot more political refugees. Decolonization and industrialization resulted in the immigration and Mongol Era to Lenin recruitment of non-native European populations, as Philip Swoboda well as the return of European colonial settlers. In Open, Lecture—Fall addition, Europeans moved to the cities, turning the This course will introduce students to the main continent from one in which almost half the themes of Russian history from the Middle Ages to population lived in the countryside in 1950 into a 1917. We will begin by examining how history predominantly urbanized one within the span of 30 transformed the various Slavic tribes of the East years. Political crisis abroad, Europeanization, the European plain into the three distinct peoples whom fall of the Iron Curtain, and globalization led to still we now term “Russians,” “Ukrainians,” and more mobility. The so-called migration crisis of 2015 “Belorusians.” We will consider the medieval is thus but one of a series of migratory events—and principality of Moscow—in which Russia’s enduring by far not the largest. This lecture introduces traditions of autocratic government, territorial students to the history of Europe, both Eastern and expansionism, and xenophobia originally took Western, since 1945. The movements of peoples and shape—and trace the course of Muscovy’s borders will provide students with insight into protracted struggle with Poland-Lithuania for political, cultural, and social developments of the dominance in Eastern Europe. We will investigate continent following the defeat of the Third Reich. In how rulers such as Ivan the Terrible, Peter the Great, order to avoid an undue Euro-centrism and remain and Catherine the Great endeavored to meet “the critical of the language that we use to talk and think challenge of the West” to marshal the resources of about migration, the lectures will be twinned with a their huge but economically backward empire in number of group conferences that are conducted order to compete militarily with the monarchs of jointly with Partibhan Muniandy and his class on more advanced European countries. We will discuss Lexicons of (Forced-)migrations. resistance to the oppressive demands of the tsarist state on the part of peasants, Cossacks, religious dissidents, and national minorities. We will consider THE CURRICULUM 71 Human Rights will include a variety of memoirs and literary texts that capture the experience of ordinary Russians Mark R. Shulman over the course of the last 100 years. Open, Lecture—Spring History is replete with rabid pogroms, merciless religious wars, tragic show trials, and even genocide. Ancient Albion: Art and Culture in For as long as people have congregated, they have the British Isles from Stonehenge defined themselves, in part, as against an to the Viking Invasions other—and have persecuted that other. But history has also yielded systems of constraints. So how can David Castriota we hope to achieve a meaningful understanding of Open, Seminar—Year the human experience without examining both the Given their geographical setting at the northwestern wrongs and the rights? Should the human story be extreme of Europe, the arts and cultures of “Albion,” left to so-called realists, who claim that power wins or Britain and Ireland, have often been described by out over ideals every time? Or is there a logic of the term “insular” in the sense of isolated, discrete, mutual respect that offers better solutions? This or peripheral, yet nothing could be further from the lecture examines the history of international human truth. No less than six Roman emperors spent time in rights and focuses on the claims that individuals and Britain, and four came to power there. To a great groups make against states in which they live. extent, Irish clerics were responsible for the survival of classical learning during the Dark Ages. Indeed, throughout history, cultural developments in the Russia and Its Neighbors: Lenin to British Isles were intimately related to ideas and Putin events on the European Continent and the Philip Swoboda Mediterranean. Following this basic premise, in the Open, Lecture—Spring fall semester the course will examine civilization in This course is a continuation of Russia and Its Britain and Ireland from the late Stone Age or Neighbors: From the Mongol Era to Lenin but is open Megalithic period, through the Bronze and Early Iron to students who have not taken that course. The aim Ages, to the coming of the Celts and the Roman of the lecture will be to provide students with the conquest. In the spring, we will focus on later Roman historical background required to make sense of Britain, Irish monasticism, and the emergence of Russia’s current predicament and the policies of its Anglo-Saxon culture down to the arrival of the present-day leaders. We will first xe amine seven Vikings. At every turn, we will consider interactions decades of Communist Party rule, tracing the with the urban civilizations to the south and extraordinary path that Russia took in the 20th west—the early Aegean, Greece, Rome, and the early century to become a literate, urban, industrial medieval Continent—to discover that Albion was an society. We look at such crucial episodes in Soviet integral part of the political, religious, and economic history as Stalin’s war on the peasantry and his forces that have shaped the art and history of crash industrialization drive of the 1930s, the Great Europe up to the present time. Purge, World War II, the Khrushchev-era cultural “Thaw,” the development of a consumer economy The “Founders” and the Origins of and embryonic civil society in the 1960s and 1970s, American Politics and Gorbachev’s failed attempt to reform the Communist system. We will also discuss the methods Eileen Ka-May Cheng by which the Communist regime maintained control Open, Seminar—Year over the minority peoples of the USSR, and the From the establishment of the nation to the present, evolution of its relationships with its East European the “Founding Fathers” have served as a touchstone satellites and the non-Communist world during the for American identity. But can we speak of an American identity? Or would it be more accurate to era of the Cold War. We will devote some attention to the causes and effects of the breakup of the Soviet speak of American identities? After all, what were Union in 1990–1991 and to Russian policies toward the common visions of such diverse figures as the newly independent states that came into being Thomas Jefferson, George Washington, John Adams, as a result of the dissolution of the USSR. In the final and Benjamin Franklin—and to what extent have weeks of the course, we will consider how the their differences created multiple, and perhaps travails endured by the Russian people during the irreconcilable, American identities? Indeed, the very unhappy Yeltsin period set the stage for a term “Founding Fathers” may be an evasion of the resurgence of authoritarianism and national self- conflicts that have run through our entire history. Is assertion under Putin. Group conference readings the notion of the “Founding Fathers” our nation’s 72 History counterpart to the harmony of a Garden of Eden? But East; Nasserism and pan-Arabism; the role of US did the authors of Genesis have it wrong? Harmony power in the Middle East; the origins and spread of is not incompatible with conflict but, instead, one political Islam; the political economy of oil; requires the other so that the denial of one is in globalization and neoliberalism; and the impact of effect the denial of the other. This course will various new cultural forms and media on the explore how and why Americans have put such a formation of identities across the region. premium on the “Founding Fathers” as a source of political legitimacy by examining the diverse colonial Making Latin America roots of the political thought of the founding generation. We shall also explore the lines of Margarita Fajardo continuity that link the founding generations to the Open, Seminar—Year influences of European thinkers such as John Locke The making of Latin America, a region deeply and Adam Smith. The course will then look at the embedded in global histories of capitalist expansion, political vision of the “Founding Fathers” imperial domination, and circulation of Western themselves, putting into serious question commonly ideas, must nonetheless begin by looking inward. held views about the ideals they embraced. Were the The course examines the ways in which landowners founders proponents of liberal individualism and and campesinos, intellectuals and workers, military democracy, as so many Americans assume? Or were blacks, whites, and mestizos understood and shaped they backward-looking reactionaries, seeking to hold the history of this region in the world. From the early onto a communal ideal modeled on the ancient settlements in the Americas and the pre-Hispanic republics of Greece and Rome? Finally, the course civilizations to the contemporary battles between will analyze the political legacy of the founders neoliberals and neosocials, this yearlong course during the early 19th century to the Civil War, ending offers a survey of the more than five centuries of the with the question of how could both the Union and history of the region that we know as Latin America. the Confederacy view themselves as the true After an overview of the intellectual and political inheritors of that legacy when they seemed to debates about what the term “Latin America” means represent such opposed causes? and encompasses, the first half of the oursec will survey the fall of the Aztec and Inca empires, the colonial order that emerged in its stead, The Emergence of the Modern independence from Iberian rule, and the division of Middle East the empire into a myriad of independent republics, Matthew Ellis or states, searching for a “nation.” By focusing on Open, Seminar—Year specific national trajectories, we will then ask how This course provides a broad introduction to the the American and Iberian civilizations shaped the political, social, cultural, and intellectual history of new national experiences and how those who made the Middle East from the late 18th century to the claims on the “nation” defined and transformed the present. After a brief conceptual overview, the colonial legacies. In the second semester, the course course draws upon a wide array of primary and will delve into the long 20th century and the multiple secondary sources to illuminate the manifold experiences of and interplay between anti- transformations and processes that have Americanism, revolution, populism, and contributed over time to shaping what has meant to authoritarianism. We will ask how different national be “modern” in this remarkably diverse and dynamic pacts and projects attempted to solve the problem of region. Particular attention will be paid to the political inclusion and social integration that following themes: the question of modernization and emerged after the consolidation of the 19th-century reform within the Ottoman and Qajar empires; the liberal state. Using primary and secondary sources, experience of different forms of European fiction, and film, theourse c will provide students an imperialism in the Middle East; the integration of the understanding of historical phenomena such as Middle East into the world economy; World War I and liberalism, mestizaje and racial democracy, the collapse of the Ottoman Empire; state-building in caudillismo, populism, and reformism, among other both colonial and postcolonial contexts; concepts key to the debates in contemporary Latin transformations in religious thought; changing America. family norms and gender roles and the genesis of Middle Eastern women’s movements; nationalism; class politics, social movements, and revolution; Zionism and the Israel-Palestine conflict; post-World War II geopolitics and the Cold War in the Middle THE CURRICULUM 73 Making Modern East Asia: Empires global patterns. Revolutionary movements and ideas and Nations, 1700-2000 reverberated from Asia and Africa to Europe and the Americas, and they mobilized people from virtually Kevin Landdeck all walks of life. This course situates US movements Open, Seminar—Year within their global contexts and explores movements This yearlong seminar is a sustained look at the that unfolded overseas. On both fronts, we focus recent history of China and Japan, the major especially on revolutionary nationalism and its countries within East Asia. Placed alongside each various permutations among activists grappling with other, the often wrenching history of Japan and issues of colonialism, class, race, gender, and China over the past three centuries raise important sexuality. Readings include both historical historical themes of Asian modernity, questioning documents and scholarship, and the syllabus makes both its sources and how we define it. Often ample use of music and film. portrayed as a direct import from the West in the 19th century, we will ask whether modernity might instead be traced to legacies of Japan’s isolationist Standing on My Sisters’ Shoulders: feudalism under the Tokugawa Shogunate Rethinking the Black Freedom (1603-1867) and China’s multiethnic Manchu dynasty Struggle (1644-1911), even as we acknowledge the far- Komozi Woodard reaching impact of Euro-American imperialism. For Open, Seminar—Year example, did the evolving samurai culture of the Why do we know so little about the crowded field of Tokugawa era lay a socioeconomic foundation for women in the leadership of the black freedom Japan’s political and economic modernity in the late struggle? When students imagine the leadership of 19th century? And did deep changes in Qing China the Civil Rights Movement, most see figures only like society destabilize the dynastic balance of power as Martin Luther King, Jr and Thurgood Marshall; early as the 18th century? Both China and Japan however, a new generation of historians is have entrenched master narratives that portray rethinking the freedom struggle so that students themselves as victims of the West, but we will also might begin to see the leadership of Gloria investigate the contours of Asian imperialism. How Richardson at the helm of the Cambridge Movement and why were their empires built, and how did they in Maryland, Ella Baker at the helm of New York’s end? How were the nation-states we now call China NAACP, Diane Nash at the helm of the Freedom Rides, and Japan formed, and how was nationalism Septima Clark at the helm of the Citizenship Schools, constructed (and reconstructed) in them? What role Fannie Lou Hamer at the helm of the Mississippi did socioeconomic, cultural, and international crises Movement, Ericka Huggins at the helm of the Black play in fueling nationalist sentiments? How and Panther’s Oakland Community School, Amina Baraka where was radicalism (of various forms, including at the helm of the African Free School and the Black Maoism) incubated? The impact of war, preparing Women’s United Front, and Johnnie Tillmon at the for it, waging it, and rebuilding in its wake will be a helm of the National Welfare Rights Organization. repeated theme, too. And finally, we will look at This seminar will interrogate the role of Yuri Asia’s economic dynamism, covering both Japan’s Kochiyama in the founding of the Black Panther post-World War II capitalism (and its roots in the Party and the Republic of New Africa, Denise Oliver in wartime imperialist project) and China’s transition the development of the Young Lords Party, and Vicki to a market economy. Course readings consist of Garvin in the building of the National Negro Labor historical scholarship regularly punctuated by Council. Those women claimed a tradition that they primary sources, documents, fiction, and some film. traced back to Harriet Tubman, Ida B. Wells, and Claudia Jones. Historians are recovering the stories The Sixties of hundreds of women writers, artists, actors, and Priscilla Murolo activists in the Black Renaissance. Thus, students in Open, Seminar—Year this seminar will research some of those important According to our national mythology, social subjects. insurgencies of the 1960s originated in the United States and pitted radical youth against the American mainstream. The real story is much more complicated. Politically speaking, the “sixties” began in the mid-1940s and extended into the late 1970s; the ferment was by no means confined ot youth; and developments within the United States reflected 74 History “Mystic Chords of Memory”: Myth, Asian Imperialisms, 1600-1953 Tradition, and the Making of Kevin Landdeck American Nationalism Open, Seminar—Fall Eileen Ka-May Cheng East Asia, like much of the globe, has been Open, Seminar—Fall powerfully shaped by the arrival, presence, and Is history just a memory of memories? This course activity of imperialist power in the region. In fact, in will explore that question by looking at how both China and Japan, nationalism is founded on Americans have remembered and mythologized resistance to the encroachments of Western important events and individuals in the nation’s imperialism. Both nations cast themselves as history. One of the best-known such myths is the victims to the rapacious West. And yet, often story of George Washington and the cherry tree. On unnoticed by patriots and pundits, both China and being questioned by his father about who chopped Japan are deeply indebted to their own domestic down the cherry tree, Washington confessed that he imperialisms, albeit in very different ways. Relying had done it, telling his father, “I cannot tell a lie.” on a wide range of course materials (historical Ironically, however, this story was itself a scholarship, paintings, lithographs, photographs, fabrication. We must also not forget “Honest Abe,” literature, and relevant primary sources), this course where the theme of “honesty” recurs. Why have such is an intensive investigation of the contours of Asian myths been so important to American national imperialism covering the colonialism of the Qing identity? For example, was Washington’s purported dynasty (1644-1911), the aggressive Western truthfulness a way of creating a sense of expansion in the 19th century, and the Japanese transparency and a bond of trust between the Empire (1895-1945). We will ask what features (if people and their democratically elected any) these very different empires shared and what government? The course will address such questions set them apart from each other? How and why were by looking at the construction and function of Asian empires built, how did they end, and what tradition and myth, as well as the relationship legacies did they leave? We will excavate the multi- between myth and tradition in American culture ethnic Qing imperium for how it complicates China’s from the American Revolution to the Civil War. We patriotic master narrative. Does Qing ethnic policy will examine some of the specific ythsm and toward native Miao tribes differ from Western traditions that Americans invented, such as the powers’ Civilizing Discourse? What are the legacies mythologization of individual figures like Sojourner of Qing colonialism for China’s modern nation-state? Truth, as well as of specific events like that of the The Qing campaigns to subjugate the Mongols in the Seneca Falls women’s rights convention. The course northwest and the colonization of the untamed will pay special attention to the mythologization of southwest both predated the arrival of Westerners the American Revolution and the myth of the self- and the Opium War (1839-42). How does that impact made man, examining how figures such as George our understanding of the clash between China and Washington, Benjamin Franklin, Andrew Jackson, and the rapidly expanding West? We will trace earlier Abraham Lincoln both contributed to and embodied academic views on the classic confrontation those myths. We will consider how and why myths between these two presumed entities before about those events and individuals were created and examining more recent revisionist formulations on the extent to which they corresponded to social the Western penetration of China. What were the reality. We will study how those myths both unified processes of Western intrusion, and how did Western and divided Americans, as different groups used the imperialism come to structure knowledge of China? same myths for conflicting social purposes. And And finally, we will turn to the Japanese Empire. finally, we will examine what those myths revealed What were its motivations, its main phases, and its about how Americans defined the nation’s identity. contradictions? Should we understand it as similar Was the United States a nation bound by “mystic to Western imperialism or, as an alternative, chords of memory,” as Lincoln so poetically claimed? something unique? What are the implications of Or were Americans ultimately a “present-minded both those positions? To understand the Japanese people” defined yb their rejection of the past? More empire in both its experiential and theoretical precisely, did Americans view the very notion of dimensions, we will range widely across Japan’s tradition as an impediment to the unlimited possessions in Taiwan, Korea, and Manchuria. The possibilities for growth and the actualization of their questions and topics in this seminar will complicate “manifest destiny”? the master narratives that prevail in both East Asia and the West, not to delegitimize or subvert Asian sovereignties but, rather, to understand the deeply THE CURRICULUM 75 embedded narratives of imperialism within those continue to be flash points orf controversy in the sovereign claims and to see how those narratives present day. This course will explore the origins and (and their blind spots) continue to frame and evolution of these debates, taking a historical and support policies and attitudes today. thematic approach to the lived experience of women in various Middle Eastern societies at key moments “History Wars”: Americans’ Battle in the region’s history. Topics to be covered include: the status of women in the Qur’an and Islamic law; over Their Past the Ottoman imperial harem; patriarchy and Eileen Ka-May Cheng neopatriarchy; the rise of the women’s press in the Open, Seminar—Spring Middle East; women, nationalism, and citizenship; Nothing more clearly demonstrates the truth of the emergence of various forms of women’s activism William Faulkner’s oft-quoted dictum—“The past is and political participation; the changing nature of never dead. It’s not even past”—than recent the Middle Eastern family; the politics of veiling; conflicts vo er Confederate monuments and the Orientalist discourse and the gendered politics of Confederate flag. etY , such conflicts vo er public colonialism and postcolonialism; women’s remembrance of America’s past are not new. Nor performance and female celebrity; archetypes of have they been confined ot the subject of the femininity and masculinity; and women’s Confederacy. From the nation’s founding, Americans autobiography and fiction in the Middle astE . have argued over how they wanted their past to be Throughout, we will interrogate the politics of remembered in everything from monuments and gender, the political and social forces that flags ot textbooks and holidays. The course will look circumscribe Middle Eastern women’s lives, and the at these conflicts vo er public remembrance, individuals who claim authority to speak for women. beginning with the early years of the new nation and The course will also briefly xe amine gender and continuing to the present. Among the controversies sexuality as categories for historical analysis in the that we will consider will be those over the modern Middle East. Confederate flag, the Vietnam arW Memorial, the Enola Gay exhibit at the Smithsonian, and the establishment of Martin Luther King, Jr. Day as a The Problem of Empire: A History holiday. How do we explain the fervor of those of Latin America debates? What do they tell us about their own time? Margarita Fajardo What were the political and social purposes of the Open, Seminar—Spring contestants in those conflicts? oT what extent did Most Latin American nations emerged as their competing visions of the American past independent states in the early 19th century, long correspond to historical reality? What do those before Europe’s imperialist “scramble for Africa” controversies reveal about the changes and divisions came to solidify our ideas about the meaning and in how Americans have defined their identity? And, character of imperialism. Despite Latin America’s ultimately, what do they say about the power of the nominal political independence, the notions of past in American culture and its relationship to empire and the problems of imperialism remain key American identity? Americans often like to think of tools for historians seeking to understand the themselves as a forward-looking nation development and experience of Latin America in the untrammeled by the bonds of the past, a place 19th century and beyond. Using terms such as where it was possible to “begin the world over “despotic rule,” “the “imperialism of free trade,” again,” as Thomas Paine so eloquently put it; but “informal empire,” “foreign intervention,” were they in thrall to tradition or, to use Abraham “hegemony,” or “our own backyard,” historians, Lincoln’s words, bound by “mystic chords of economists, politicians, and diplomats have sought memory” more than they realize? to describe what it means for Latin America to be the object of imperialism. Furthermore, from Women and Gender in the Middle bourgeois intellectuals to authoritarian rulers, many influential figures have attributed the region’s East economic, cultural, and political problems to what Matthew Ellis they considered the legacies of colonialism. It is Open, Seminar—Spring precisely to these puzzling and shifting meanings of Debates over the status of Middle Eastern women imperialism and the impact over peoples, economies, have been at the center of political struggles for and polities that this course is devoted. Through the centuries—as well as at the heart of prevailing history of Latin America, the course will examine the Western media narratives about the region—and multiple dimensions of empire; analyze the different 76 History forms of foreign interventions that are grouped Year’s Sacrifice will be read alongside HU Sang’s by under the umbrella term “imperialism”; and identify the same title, while LI Zhun’s The Biography of LI the historical legacies that can be traced back to Shuangshuang will accompany the 1962 movie that imperial rule, practices, and strategies. The course followed). Appropriate readings will cover important will try to give historical specificity ot the concept of historical background in some detail; for example, imperialism by focusing on specific individuals, the Great Leap Forward (1959-62) and the Cultural groups, and classes. The course will also assess the Revolution (1966-76) are both crucial events for balance between internal and external, local and understanding the revolutionary experience, while global factors that shape the trajectory of the region the latter is particularly relevant for its impact on in order to understand when the concepts of reform-era filmmakers. Other readings will focus imperialism and colonial are accurate and useful and specifically on cinema, ranging from broad historical when they are not. After a brief introduction to overviews on the material/financial onditionsc of theoretical concepts and to the voices of advocates production, distribution, and exhibition; close and critics of empire, the course will survey the analyses of individual films; the transition from history of Latin America through each of the socialist to postsocialist cinema and the following fundamental dimensions of empire: construction of “Chineseness” as a object for the territory, production and extraction, race and Western gaze to the avant-garde/independent ethnicity, and ideas and ideologies. responses to the current global/commercial Chinese cinema. This course is an open superseminar Mainland Chinese Cinema, Culture, (capped at 30 students), meeting once a week for two and half hours in order to facilitate in-depth and Identity From 1949 to the discussions of paired material; for example, two Present movies or a movie and significant historical texts Michael Cramer, Kevin Landdeck (either primary or secondary). In addition to this Open, Joint seminar—Spring weekly class time, there will be required screenings This seminar course will examine both the historical of film (one or two per week). Students will be and cultural context of mainland Chinese cinema divided evenly between the two professors for from 1949 to the present. The course will be focused conferences, using the regular model of biweekly on full-length feature films rf om the People’s meetings. Republic of China, providing an eclectic mix of movies covering socialist propaganda of the high History and Memory on Screen: Maoist period (1949-76), the critical stances of the “Fifth Generation” (of graduates from the Beijing The Third Reich in Film, From The Film Academy) in the 1980s and early 1990s, the Great Dictator to Inglorious more entertainment-focused films of post-Deng Basterds (2000s) China, as well as contemporary art films Philipp Nielsen that are largely seen outside of the commercial Open, Seminar—Spring exhibition circuit. This wide variety of films will open Movies shape the way we see the world. They also up questions of cinematic representations of shape the way we think about history. The miniseries Chinese identity and culture in at least four major Holocaust of 1978 did more to sensitize not only the modes: socialist revolutionary (1949-76), critical American but also the German public toward the reflections on China’s past and the evr olution mass murder of European Jews—and also (1982-1989), what one might call neoliberal popularized the term—than most books written entertainment (1990-present), and the more about the Holocaust until then. Schindler’s List, 15 underground art cinema that has emerged as years later, once more confronted audiences with mainstream Chinese cinema has become the very personal histories of Jewish victims during increasingly commercial. Along with the close the Holocaust while, at the same time, introducing analysis of films (their narrative structure, the figure of the “good German.” While films about audiovisual language, relationship to other films the Third Reich and the Holocaust continue to be from both China and beyond), the course will deal reliable box office hits, both as blockbusters and as with Confucian legacies in Chinese society, art house movies— Alone in Berlin, Operation communist revolutionary spasms and the censorship Valkyrie, The Fall, and Inglorious Basterds are just a system, and the more open market and ideology of few examples from the 2000s—attempts to visualize the post-Mao reform era. Assigned readings will be the Third Reich from outside already began during its varied, as well. Several key movies will be paired existence. This course seeks to investigate the with their textual antecedents (e.g., LU Xun’s New changing representations of the Third Reich. The THE CURRICULUM 77 films literally put changing views about its history on decades, historians have become increasingly screen and shape the public’s idea about the Third interested in the unique role and power of memory in Reich. Over the course of the semester, we will public life and have sought to understand the analyze the range of genres and approaches to the innumerable ways that collective memory has been topic in their historical and national context. Most of constructed, experienced, used, abused, debated, the movies will be from the United States and and reshaped. In this course, we will explore these Germany, with forays into Eastern European and themes and questions by reading deeply into the rich Israeli representations of the Third Reich. This is not literature on historical memory within the field of a film-studies course but, rather, one that explores modern Middle Eastern history. Particular attention the legacy and memory of the Third Reich through will be paid to the following topics: the role of film. The movie screenings will be accompanied by memory in the construction of Palestinian and Israeli weekly readings. By the end of the semester, national identity; debates over national students will have familiarized themselves with the remembering, forgetting, and reconstruction different and historically contingent ways in which following the Lebanese Civil War; Middle Eastern the Third Reich was—and is—viewed. Students will diaspora formation and exilic identity (for instance, be introduced to using films as historical sources after the Iranian Revolution of 1979); the myth of a and to the influence of movies on public history, as “golden age” of Arab nationalism; Turkish nostalgia well as to the legacy of the Third Reich in postwar for the Ottoman imperial past; war, conflict, and politics. Having taken the fall 2019 lecture, The Third trauma; Islamism and salafi interpretations of Reich, is helpful but not mandatory. Islamic history; and the role of museums, holidays, and other commemoration practices in the Class, Race, Gender, Work: construction of the national past across the region. Throughout the course, we will attend to the Readings in US Labor History complex interplay between individual and collective Priscilla Murolo memory (and “countermemory”), particularly as this Sophomore and above, Seminar—Year has played out in several formulations of Middle This course explores American labor systems and Eastern nationalism. labor struggles from the colonial era to the present. Core topics include slavery and other forms of bondage, as well as wage work, the enduring legacy Liberation: Contemporary Latin of settler-colonial regimes, and intersections of America class, racial, and gender hierarchies. Along the way, Margarita Fajardo we will focus especially on the complex relationship Sophomore and above, Seminar—Fall between oppression and collective forms of After the military regimes that swept Latin America resistance, from slave revolts to political parties, came to an end in the last quarter of the 20th from bread-and-butter unionism to revolutionary century, a new era of liberation emerged. The movements, and from immigrant worker centers to transition to democracy, and the broad-based campaigns for gay and lesbian rights. Readings coalitions then formed, renewed the hopes and include fiction, autobiography, and scholarship expectations of justice, equality, and freedom that ranging from classics such as W. E. B. Du Bois’s Black had been shattered by torture, censorship, and state Reconstruction to recent work on labor issues and power. But the era that emerged from those labor organizing in the 21st century. transitions—one which is coming to an end—is full of contradictions. Alongside the liberations of The Middle East and the Politics of prisoners and the press and the return to party politics came the demise of social revolution and the Collective Memory: Between retreat of the left. Alongside the liberalization of Trauma and Nostalgia markets and the so-called neoliberal reforms came Matthew Ellis innovative social policies and a multiplicity of social Sophomore and above, Seminar—Fall movements, the most salient of which are led by What is the relationship between history and indigenous groups and peasant-based organizations. memory? How are historical events interpreted and Similarly, the ascendancy and hegemony of liberal rendered socially meaningful? How is public ideas and policies gave rise to a new left, which knowledge about the past shaped and propagated? brought the world’s attention back to Latin America How and why—and in what contexts—do particular with its combination of growth and equality. This ways of seeing and remembering the past become course will examine the dynamics of revolution and attached to various political projects? In recent counterrevolution in which contemporary Latin 78 History America emerged; study the origins of neoliberalism will explore questions of race, class, sexuality, and in Latin America and its economic and political gender and analyze the ways in which women have repercussion; delve into the contradictions of the intervened and participated in the political and democratic transitions and their legacies; and cultural world. This is a research seminar. explore the new rural, labor, feminist, and Considerable attention will be paid to the indigenous movements that have challenged both development or refinement of a fluent and acgr eful neoliberalism and democracy. expository writing style, well buttressed by the careful use of evidence. Democracy and Emotions in Postwar Germany Diversity and Equity in Education: Philipp Nielsen Issues of Gender, Race, and Class Sophomore and above, Seminar—Fall Nadeen M. Thomas The passion of the people has been treated as both Advanced, Seminar—Year the foundation of democracy and its greatest threat. The education system is a central institution in the Groups of people, not least women, were denied the socialization of young people and the maintenance vote because of their supposedly too emotional of the modern nation-state. Schools support nature. More recently, in light of decreasing voter meritocratic models of society by providing turnout and frustration with the political process, opportunities for social mobility. Paradoxically, politicians, pundits, and the press have made schools also reproduce gender, racial, and class contradicting appeals to the hearts—but also the inequality. In this course, we will examine the roles minds—of citizens across democratic societies. This that schools play in the transmission of culture, seminar explores the ambivalent connection of formation of identity, and reproduction of social emotions and democracy in the case of post-1945 structures. Paying special attention to gender and its Germany. While the focus lies on the Federal intersection with other social categories, we will Republic, the claim of the German Democratic look at practices and policies that shape students’ Republic to be a different kind of democracy is taken performance as they strive for competence, seriously. Both East and West tried to formulate new achievement, and acceptance. We will also analyze rules for political feelings following the rise and the larger political and economic contexts that defeat of the Third Reich. For both states, the shape both schools and the communities in which connection of bodies, spaces, and practices in the they are situated. attempt to establish democratic sentiments will be examined. The course combines a chronological Public Stories, Private Lives: account, with a typology of different feelings and practices. The role of architecture—for example, for Theories and Methods of Oral the connection between governing and History governed—will be discussed, as will be the role of Mary Dillard guilt and its different expressions in establishing Advanced, Seminar—Fall democratic communities in East and West. By the The goal of this class is to introduce students to the end of the semester, students will have gained best practices of oral-history interviewing, theory, familiarity with the political history of postwar and methodology. Oral-history methodology has Germany and with the history of emotions. moved from being a contested approach to studying history to becoming an integral method for learning Women, Culture, and Politics in US about the past. Around the world, oral history has been used to uncover the perspectives of History marginalized groups (women, ethnic minorities, Lyde Cullen Sizer workers, LGBTQI communities) and to challenge Advanced, Seminar—Year “official” historical narratives. It is now a mainstay Through fiction, memoir and cultural criticism, of social history, helping researchers uncover voices political activism, and popular culture, American that might otherwise be marginalized or ignored. In women have expressed their ideas and their desires, this regard, oral history has become one of the most their values and their politics. This course will important methods in a historian’s toolkit. Life approach US history through the words and actions histories enable us to focus on individual of all kinds of American women from the early 19th experiences and consider the historical significance century through the late 20th century. Using both of one person’s life. Long used by anthropologists primary sources and histories narrow and broad, we and sociologists, life-history methods continue to be THE CURRICULUM 79 rediscovered by historians seeking to enrich their increasingly fractured “mediascape” and hyperniche understandings of the past. Conducting oral-history digital content. Open to juniors, seniors, and or life-history research entails more than listening to graduate students. someone talk and recording what he or she has to say. Researchers must approach their work with Who Tells Your Story? Cultural knowledge, rigor, respect, and compassion for their research subjects. Toward the goal of developing Memory and the Mediation of those skills, this class will focus on several History contentious questions associated with oral history. Rachelle Sussman Rumph Questions that we will ask include: Is there a Advanced, Seminar—Spring feminist oral history that is different from other Media scholar Marita Sturken states that cultural kinds of historical inquiry? What is the role of memory “represents the many shifting histories and memory? What is the role of intersubjectivity, and shared memories that exist between a sanctioned how much does the researcher influence the narrative of history and personal memory.” interview process? How should researchers Sanctioned sites of remembrance, such as catalogue and make their work accessible? Are there memorials and museums, indicate the extent to ethical considerations to doing oral-history or life- which cultural memory operates on regional, history research, and are they different from other national, and global levels. As memorials are created types of historical methodologies? How have social- to represent a specific point or event in history, they media and digital technologies changed the practice may also be understood as forms of media or of oral history, and what ethical/methodological technologies of cultural memory that produce questions do those technologies raise? meanings and contain their own revealing histories. This course examines the way in which objects of Gender, Race, and Media: historical mediation, such as memorials, have a story to tell about the politics of remembrance and of Historicizing Visual Culture forgetting. We explore how, through those objects, Rachelle Sussman Rumph shifting histories collapse into one another and the Advanced, Seminar—Fall technologies of cultural memory continue to take on What does it mean, from a historical perspective, to renewed interest and urgency in the present. In live in a society immersed in visual technologies? addition to memorials, we focus on museums, How does power figure into past and contemporary documentaries, historical fiction, and the oler of oral viewing practices? In this course, we will explore the history in shaping regional and national historical field of visual culture in order to develop a critical narratives. We take an intersectional approach to framework through which we may understand visual this topic, and our time span falls roughly from the perception as a set of practices that inform, and are Civil War to the contemporary era—focusing informed by, structures of power. We will accomplish primarily on the United States but also including this by focusing on the rich scholarship of visual African, European, and other forms of culture theory; media and communication memorialization outside of the United States. Open to scholarship that foregrounds gender and racial juniors, seniors, and graduate students. analysis; and the excellent scholarship that bridges media/visual studies and women’s history. We will Other courses of interest are listed below. Full work with a variety of mediums, including art, descriptions of the courses may be found under the advertising, film, and digital media. Readings span appropriate disciplines. the 19th century through the contemporary era. Nineteenth-century scholarship focuses on the rise On Whiteness: An Anthropological Exploration (p. 6), of “commodity racism” and the production and Mary A. Porter Anthropology circulation of imagery of the other within the Telling Lives: Life History Through context of industrialization, commercial advertising, Anthropology (p. 7), Mary A. Porter and immigration. Twentieth-century topics include Anthropology the development of modern/postmodern aesthetic The Anthropology of Images (p. 5), Robert R. and philosophical frameworks, the notion of the Desjarlais Anthropology gaze, and the rise of a global media landscape. An Architectures of the Future: 1850 to the examination of contemporary viewing practices will Present (p. 12), Joseph C. Forte Art History enable us to consider some of the implications of an Lift Up Your Hearts: Art and Architecture of the Baroque—Europe and Its Colonies, 1550–1700 (p. 10), Joseph C. Forte Art History 80 History Romanesque and Gothic: Art and Architecture at the Perverts in Groups: Queer Social Lives (p. 87), Julie Birth of Europe (p. 13), Jerrilynn Dodds Art Abraham Lesbian, Gay, Bisexual, and History Transgender Studies Ancient Albion: Art and Culture in the British Isles Engendering the Body: Sex, Science, and Trans From Stonehenge to the Viking Embodiment (p. 87), Emily Lim Rogers Lesbian, Invasions (p. 11), David Castriota Art History Gay, Bisexual, and Transgender Studies Archaeology and the Bible (p. 13), David Castriota Art Austen Inc.: 18th-Century Women Writers (p. 99), History James Horowitz Literature The City in Antiquity (p. 12), David Castriota Art Chaucer and Literary London (p. 91), Gillian Adler History Literature Asian Imperialisms, 1600-1953 (p. 15), Kevin Conscience of the Nations: Classics of African Landdeck Asian Studies Literature (p. 95), William Shullenberger First-Year Studies: Chinese Literature, Folktales, and Literature Popular Culture (p. 14), Ellen Neskar Asian Eight American Poets: Whitman to Ashbery (p. 98), Studies Neil Arditi Literature Images of India: Text/Photo/Film (p. 17), Sandra First-Year Studies: German Cultural Studies From Robinson Asian Studies 1871–Present (p. 90), Roland Dollinger Law and Popular Culture in Pre-Modern China (p. 15), Literature Ellen Neskar Asian Studies First-Year Studies: The Perils of Passion: Ancient Making Modern East Asia: Empires and Nations, Greek History for Today’s Troubled 1700-2000 (p. 15), Kevin Landdeck Asian Times (p. 89), Emily Katz Anhalt Literature Studies History Plays (p. 93), Fredric Smoler Literature Writing India: Transnational Narratives (p. 16), Odyssey/Hamlet/Ulysses (p. 96), William Sandra Robinson Asian Studies Shullenberger Literature History of Economic Thought and Economic History: Romanticism and Its Consequences in English- Economic and Legal Foundations (p. 36), Language Poetry (p. 92), Neil Arditi Literature Jamee K. Moudud Economics Slavery: A Literary History (p. 97), William Introduction to Economic Theory and Policy (p. 36), Shullenberger Literature Jamee K. Moudud Economics The Occupation and Its Aftermath in French Legal Foundations to Business History: Corporate Literature and Film (p. 96), Bella Brodzki , Jason Governance, Democracy, and Economic Earle Literature Transformation (p. 38), Jamee K. Moudud Strange Universes: An Introduction to Non-Euclidean Economics Geometry (p. 101), Philip Ording Mathematics Introduction to Property: Cultural and Environmental The Philosophy of Music (p. 105), Martin Goldray Dimensions (p. 40), Charles Zerner Music Environmental Studies First-Year Studies: The Origins of Philosophy (p. 116), Intermediate French I (Section I): French Roy Ben-Shai Philosophy Identities (p. 58), Eric Leveau French “I Think, Therefore I Am:” The Meditations of René Food, Agriculture, Environment, and Descartes (p. 118), Roy Ben-Shai Philosophy Development (p. 61), Joshua Muldavin Introduction to Social Theory: Philosophical Tools for Geography Critical Social Analysis (p. 117), David Peritz Introduction to Development Studies: The Political Philosophy Ecology of Development (p. 63), Joshua Chaos or Calm: The 2020 Elections (p. 125), Samuel Muldavin Geography Abrams Politics The Geography of Contemporary China: A Political Moonshots in Contemporary American Ecology of Reform, Global Integration, and Rise Politics (p. 124), Shayna Strom Politics to Superpower (p. 62), Joshua Muldavin The American Welfare State (p. 142), Luisa Laura Geography Heredia Public Policy Beginning Greek (p. 66), Emily Katz Anhalt Greek The Politics of “Illegality,” Surveillance, and (Ancient) Protest (p. 142), Luisa Laura Heredia Public Advanced Italian: Fascism, World War II, and the Policy Resistance in 20th-Century Italian Narrative First-Year Studies: The Buddhist Philosophy of and Cinema (p. 83), Tristana Rorandelli Italian Emptiness (p. 143), T. Griffith Foulk Religion Intermediate Italian: Modern Italian Culture and Introduction to Ancient Greek Religion and Literature (p. 83), Tristana Rorandelli Italian Society (p. 146), Cameron C. Afzal Religion Jewish Autobiography (p. 146), Glenn Dynner Religion THE CURRICULUM 81

Readings in the Hebrew Bible: The Wisdom Courses offered in related disciplines this year are Tradition (p. 145), Cameron C. Afzal Religion listed below. Full descriptions of the courses may be The Buddhist Tradition in India, Tibet, and Southeast found under the appropriate disciplines. Asia (p. 144), T. Griffith Foulk Religion The Emergence of Christianity (p. 145), Cameron C. Language and Capitalism (p. 7), Aurora Donzelli Afzal Religion Anthropology The Holocaust (p. 147), Glenn Dynner Religion Life, Death, and Violence in (Post)Colonial France Beginning Russian (p. 148), Melissa Frazier Russian and Algeria (p. 6), Robert R. Desjarlais Changing Places: Sociospatial Dimensions of Anthropology Urbanization (p. 151), Shahnaz Rouse Sociology On Whiteness: An Anthropological Exploration (p. 6), Travel and Tourism: Economies of Pleasure, Profit, Mary A. Porter Anthropology and Power (p. 153), Shahnaz Rouse Sociology Spaces of Exclusion, Places of Belonging (p. 7), First-Year Studies: Necessary Hero (p. 178), Mary Deanna Barenboim Anthropology LaChapelle Writing Masterworks of Art and Architecture of Western First-Year Studies: Writing and the Racial Traditions (p. 12), Jerrilynn Dodds Art History Imaginary (p. 178), Rattawut Lapcharoensap Paris: A History Through Art, Architecture, and Urban Writing Planning (p. 13), Jerrilynn Dodds Art History Nonfiction orkW shop: To Tell the Truth (p. 183), Romanesque and Gothic: Art and Architecture at the Suzanne Gardinier Writing Birth of Europe (p. 13), Jerrilynn Dodds Art Our World, Other Worlds (p. 180), Myra Goldberg History Writing Images of India: Text/Photo/Film (p. 17), Sandra Writing Our Moment (p. 184), Marek Fuchs Writing Robinson Asian Studies Law and Popular Culture in Pre-Modern China (p. 15), Ellen Neskar Asian Studies Writing India: Transnational Narratives (p. 16), INTERNATIONAL STUDIES Sandra Robinson Asian Studies Beginning Chinese (p. 25), Fang-yi Chao Chinese What kind of global society will evolve in the 21st Intermediate Chinese (p. 25), Fang-yi Chao Chinese century? Linked by worldwide organizations and Economics of Environmental Justice: People, Place, communications, yet divided by histories and ethnic and Power (p. 37), An Li Economics identities, people everywhere are involved in the Economics of the Environment and Natural process of reevaluation and self-definition. oT help Resources: Market Failures, Capitalism, and students better understand the complex forces that Solutions (p. 36), An Li Economics will determine the shape of the 21st century, Sarah Intermediate Macroeconomics: Main Street, Wall Lawrence College offers an interdisciplinary Street, and Policies (p. 38), An Li Economics approach to international studies. Broadly defined, Intermediate Microeconomics: Conflicts, international studies include the dynamics of Coordination, and Institutions (p. 37), An Li interstate relations; the interplay of cultural, Economics ideological, economic, and religious factors; and the Introduction to Economic Theory and Policy (p. 36), multifaceted structures of Asian, African, Latin Jamee K. Moudud Economics American, Middle Eastern, and European societies. Legal Foundations to Business History: Corporate A variety of programs abroad further extends Governance, Democracy, and Economic students’ curricular options in international studies. Transformation (p. 38), Jamee K. Moudud The experience of overseas learning, valuable in Economics itself, also encourages more vivid cultural insight Indian Cinemas (p. 44), Priyadarshini Shanker Film and integration of different scholarly perspectives. History The courses offered in international studies are Introduction to Animation Studies (p. 43), Jason listed throughout the catalogue in disciplines as Douglass Film History diverse as anthropology, art history, Asian studies, Beginning French: Language, Culture, and economics, environmental science, geography, Action (p. 57), Eric Leveau French history, literature, politics, and religion. Intermediate French I (Section I): French Identities (p. 58), Eric Leveau French Intermediate French III/Advanced French: The Fantastic, the Surreal, and the Eerie (p. 59), Jason Earle French 82 Italian Food, Agriculture, Environment, and Introduction to International Relations (p. 124), Development (p. 61), Joshua Muldavin Yekaterina Oziashvili Politics Geography Rising Autocrats and Democracy in Decline? (p. 127), Introduction to Development Studies: The Political Elke Zuern Politics Ecology of Development (p. 63), Joshua Intervention and Justice (p. 126), Elke Zuern Politics Muldavin Geography First-Year Studies: Culture in Mind (p. 129), Deanna The Geography of Contemporary China: A Political Barenboim Psychology Ecology of Reform, Global Integration, and Rise Immigration and Identity (p. 134), Deanna to Superpower (p. 62), Joshua Muldavin Barenboim Psychology Geography Beginning Russian (p. 148), Melissa Frazier Russian Human Rights (p. 71), Mark R. Shulman History Intermediate Russian (p. 148), Natalia Dizenko International Law (p. 70), Mark R. Shulman History Russian Making Latin America (p. 72), Margarita Fajardo Changing Places: Sociospatial Dimensions of History Urbanization (p. 151), Shahnaz Rouse Sociology Russia and Its Neighbors: From the Mongol Era to Travel and Tourism: Economies of Pleasure, Profit, Lenin (p. 70), Philip Swoboda History and Power (p. 153), Shahnaz Rouse Sociology Russia and Its Neighbors: Lenin to Putin (p. 71), The Ideas of Photography (p. 176), Joel Sternfeld Philip Swoboda History Visual and Studio Arts The Emergence of the Modern Middle East (p. 72), The New Narrative Photography (p. 176), Joel Matthew Ellis History Sternfeld Visual and Studio Arts The Middle East and the Politics of Collective Nonfiction orkW shop: To Tell the Truth (p. 183), Memory: Between Trauma and Suzanne Gardinier Writing Nostalgia (p. 77), Matthew Ellis History The Problem of Empire: A History of Latin America (p. 75), Margarita Fajardo History Women and Gender in the Middle East (p. 75), ITALIAN Matthew Ellis History The study of Italian at Sarah Lawrence College offers Advanced Italian: Fascism, World War II, and the the rigors of language study and the joys of Resistance in 20th-Century Italian Narrative immersion in one of the richest cultures of the West. and Cinema (p. 83), Tristana Rorandelli Italian The course of study consists of classroom, Intermediate Italian: Modern Italian Culture and conference, and conversational components, all Literature (p. 83), Tristana Rorandelli Italian enhanced by the flexible academic structure of the Japanese I (p. 84), Sayuri I. Oyama Japanese College and its proximity to New York City. In the Japanese II (p. 84), Chieko Naka Japanese classroom, students learn Italian grammar, syntax, Japanese III/IV (p. 84), Izumi Funayama Japanese and phonology, using sources of everyday Comparative Literary Studies and Its Others (p. 94), communication and literary texts. In conference Bella Brodzki Literature sessions—especially helpful in customizing study to First-Year Studies: The Perils of Passion: Ancient each student’s level of fluency—students pursue Greek History for Today’s Troubled reading and writing related to topics that compel Times (p. 89), Emily Katz Anhalt Literature them. And in conversation meetings, students simply Japanese Diary Literature, Essays, and the “I” talk with native Italians about anything of common Novel (p. 94), Sayuri I. Oyama Literature interest. Individual conference projects may be as Reading Ōe Kenzaburō and Murakami Haruki (p. 96), creative and diverse as is appropriate for each Sayuri I. Oyama Literature student and can include interdisciplinary work in the Slavery: A Literary History (p. 97), William Italian language. Shullenberger Literature As in other disciplines, the resources of New The Occupation and Its Aftermath in French York City enhance student experience. Opera Literature and Film (p. 96), Bella Brodzki , Jason performances at the Metropolitan Opera (after Earle Literature preparatory readings from libretti), film series and An Introduction to Statistical Methods and lectures, museums, and internships related to Analysis (p. 100), Daniel King Mathematics conference work all offer ways to bring Italian to life. African Politics (p. 125), Elke Zuern Politics And for bringing students to Italy, Sarah Lawrence’s Chaos or Calm: The 2020 Elections (p. 125), Samuel study program in Florence maintains the small scale Abrams Politics and individual attention that is the mark of the International Politics and Ethnic Conflict (p. 125), College, providing an exceptional opportunity to Yekaterina Oziashvili Politics THE CURRICULUM 83 combine a yearlong academic experience with the Intermediate Italian: Modern cultural immersion of a homestay living Italian Culture and Literature arrangement. Advanced students have the opportunity to spend the second semester of their Tristana Rorandelli year abroad studying at the University of Catania in Intermediate, Seminar—Year Sicily. This intermediate-level course aims at improving The Italian program periodically offers and perfecting the students’ speaking, listening, literature courses in Italian or in translation as part reading, and writing skills, as well as their of the literature curriculum. Among these courses knowledge of Italy’s contemporary culture and are: Images of Heaven and Hell; The Three Crowns: literature. In order to acquire the necessary Dante, Petrarch, and Boccaccio; and Fascism, World knowledge of Italian grammar, idiomatic War II, and the Resistance in 20th-Century Italian expressions, and vocabulary, a review of all grammar Narrative and Cinema. will be carried out throughout the year. As an introduction to modern Italian culture and literature, Beginning Italian: Viaggio in Italia students will be introduced to a selection of short stories, poems, and passages from novels, as well as Emilia Gambardella specific newspaper articles, music, and films in the Open, Seminar—Year original language. Some of the literary works will This course is for students with no previous include selections from Umberto Eco, Italo Calvino, knowledge of Italian. It aims at giving the student a Natalia Ginzburg, Gianni Rodari, Marcello D’Orta, Clara complete foundation in the Italian language, with Sereni, Dino Buzzati, Stefano Benni, Antonio Tabucchi, particular attention to oral and written Alberto Moravia, Achille Campanile, and Elena communication and to all aspects of Italian culture. Ferrante. In order to address the students’ writing The course will be conducted in Italian after the first skills, written compositions will also be required as month and will involve the study of all basic an integral part of the course. All material is structures of the language—phonological, accessible on MySLC. Conferences are held on a grammatical, and syntactical—with practice in biweekly basis; topics might include the study of a conversation, reading, composition, and translation. particular author, literary text, film, or any other In addition to material covering basic Italian aspect of Italian society and culture that might be of grammar, students will be exposed to fiction, poetry, interest to the student. Conversation classes (in songs, articles, recipe books, and films. Group small groups) will be held twice a week with the conferences (held once a week) aim at enriching the language assistant; students will have the students’ knowledge of Italian culture and opportunity to reinforce what they have learned in developing their ability to communicate, which will class and hone their ability to communicate in be achieved by readings that deal with current Italian. When appropriate, students will be directed events and topics relative to today’s Italian culture. to specific internship opportunities in the New York Activities in pairs or groups will be part of the group City area, centered on Italian language and culture. conference, as well as short written assignments. In addition to class and group conference, the course also has a conversation component in regular Advanced Italian: Fascism, World workshops with the language assistant. War II, and the Resistance in 20th- Conversation classes are held twice a week (in small Century Italian Narrative and groups) and will center on the concept of Viaggio in Cinema Italia: a journey through the regions of Italy through cuisine, cinema, art, opera, and dialects. The Italian Tristana Rorandelli program organizes trips to the Metropolitan Opera Advanced, Seminar—Year and relevant exhibits in New York City, as well as This course is intended for advanced students of offering the possibility, as a group, to experience Italian who want to better their comprehension, as first-hand Italian cuisine. The course is for a full well as their oral and written skills, in the language year, by the end of which students attain a basic and their knowledge of Italian literature. This will be competence in all aspects of the language. achieved by reading literary works and watching films in the original language, producing written compositions, and also through in-class discussion of the material. The course examines the manner in which crucial historical events that occurred during the 20th century—specifically the rise and fall of fascism, World War II, and the Resistance—were 84 Japanese represented within Italian literature and cinema of for a taste of Japanese noodles or to browse in the time, as well as throughout the decades Kinokuniya bookstore—bring Japanese language following the end of the war (up to the 1970s). study to life. Literary texts will include those authored by Ignazio Students may also study Japanese literature in Silone, Vasco Pratolini, Italo Calvino, Mario Carli, translation in courses such as Modern Japanese Renata Viganò, Carlo Cassola, Beppe Fenoglio, Elio Literature, Spirits and the Supernatural in Japanese Vittorini, Alberto Moravia, and Carlo Mazzantini. Films Literature, and Reading Ōe Kenzaburō and Murakami will include fascist propaganda and documentaries Haruki. Students with Japanese language proficiency (from the Istituto Luce’s archives), as well as films may do readings of primary Japanese texts for by Roberto Rossellini (his fascist-era War trilogy, as conference work. For Sarah Lawrence students well as his neorealist films), Vittorio De Sica, Luigi interested in studying abroad in Japan, the College Comencini, Paolo and Vittorio Taviani, Bernardo has two exchange programs: Tsuda Women’s College Bertolucci, Giuliano Montaldo, Ettore Scola, Luchino in Tokyo and Kansai Gaidai University in Osaka. Visconti, Liliana Cavani, Pier Paolo Pasolini, and Students may also attend other study-abroad Federico Fellini. Conference topics might include the programs in Japan. study of a particular author, literary text, or film that might be of interest to the student. When Japanese I appropriate, students will be directed to specific Sayuri I. Oyama internship opportunities in the New York area Open, Seminar—Year centered on Italian language and culture. Literary This course is for students with no previous texts will be on reserve in the library or available for knowledge of Japanese. Students will develop basic purchase; critical material will be available through communicative skills in listening comprehension and MySLC. Conversation classes (in small groups) will be speaking, as well as skills in reading and writing held twice a week with the language assistant; (katakana, hiragana, and 145 kanji) in Japanese. students will have the opportunity to reinforce what While classes will be devoted primarily to language they have learned in class and hone their ability to practice, an understanding of Japanese grammar communicate in Italian. will also be emphasized as an important basis for continued language learning. Classes will meet three Other courses of interest are listed below. Full times weekly, and tutorials with a language descriptions of the courses may be found under the assistant will meet once a week. appropriate disciplines. Lift Up Your Hearts: Art and Architecture of the Japanese II Baroque—Europe and Its Colonies, Chieko Naka 1550–1700 (p. 10), Joseph C. Forte Art History Intermediate, Seminar—Year Postwar: Europe on the Move (p. 70), Philipp Nielsen This advanced-beginning course is for students who History have completed Japanese I or its equivalent. Comparative Literary Studies and Its Others (p. 94), Students will continue to develop basic skills in Bella Brodzki Literature speaking, listening, reading, and writing while expanding their vocabulary and knowledge of grammar. At the end of the course, students should JAPANESE be able to handle simple communicative tasks and situations effectively, understand simple daily The Japanese program includes courses in Japanese conversations, write short essays, read simple language and Japanese literature. In beginning and essays, and discuss their content. Classes will meet intermediate language course levels, students three times weekly, and tutorials with a language develop and deepen communicative skills in assistant will meet once a week. speaking, listening, reading, and writing. Students at all language course levels also meet weekly with a Japanese III/IV language assistant for conversation practice either Izumi Funayama individually or in small groups. The weekly lunchtime Intermediate/Advanced, Seminar—Year Japanese Table is a friendly gathering for casual This course is for students who have completed conversation. Field trips to places in the New York Japanese II or Japanese III (or their respective City area—such as the Urasenke Chanoyu Center for equivalents). The aim of the seminar is to advance a Japanese tea ceremony or Mitsuwa Marketplace students’ Japanese language proficiency in speaking THE CURRICULUM 85 and listening, reading (simple essays to authentic Sophocles, and Euripides), the social implications of texts), and writing in various styles (emails, essays, Roman domestic architecture, and a comparison of and/or creative writing). Students will meet for Euripides’s Hippolytus with Racine’s Phèdre. classes and conferences with the instructor and for Greek and Latin will be especially beneficial orf weekly individual tutorials with a language students interested in related disciplines, including assistant. religion, philosophy, art history, archaeology, history, political science, English, comparative literature, and Other courses of interest are listed below. Full medieval studies, as well as education, law, descriptions of the courses may be found under the medicine, and business. Greek and Latin can also appropriate disciplines. prove valuable to all those who wish to enrich their imagination in the creative pursuits of writing, Comparative Literary Studies and Its Others (p. 94), dance, music, visual arts, and acting. Bella Brodzki Literature Japanese Diary Literature, Essays, and the “I” Beginning Latin Novel (p. 94), Sayuri I. Oyama Literature Laura Santander Reading Ōe Kenzaburō and Murakami Haruki (p. 96), Open, Seminar—Year Sayuri I. Oyama Literature This course provides a rigorous and thorough The Buddhist Tradition in East Asia (p. 144), introduction to Latin grammar, syntax, and T. Griffith Foulk Religion vocabulary with a view to reading the language as soon as possible. The course will also introduce students to famous mythological stories with the LATIN goal to read them in their original language (Latin) by the end of the academic year. Close reading of The Sarah Lawrence College classics program Ovid’s Metamorphoses, in English, will accompany emphasizes the study of the languages and intensive language study in the fall. By mid- literature of Ancient Greece and Rome. Greek and semester, students will be translating authentic Latin constitute an essential component of any excerpts of Latin poetry and prose. During the spring humanistic education, enabling students to examine semester, while continuing to develop and refine the foundations of Western culture and explore their knowledge of Latin grammar and vocabulary, timeless questions concerning the nature of the students will read selections of the Metamorphoses world, the place of human beings in it, and the in Latin. components of a life well lived. In studying the literature, history, philosophy, and society of the Other courses of interest are listed below. Full Ancient Greeks and Romans, students come to descriptions of the courses may be found under the appreciate them for themselves, examine the appropriate disciplines. continuity between the ancient and modern worlds, and, perhaps, discover “a place to stand”—an Comparative Literary Studies and Its Others (p. 94), objective vantage point for assessing modern Bella Brodzki Literature culture. First-Year Studies: The Perils of Passion: Ancient In their first eary of study, students acquire Greek History for Today’s Troubled proficiency in vocabulary, grammar, and syntax, with Times (p. 89), Emily Katz Anhalt Literature the aim of reading accurately and with increasing insight. Selected passages of ancient works are read in the original languages almost immediately. LATIN AMERICAN AND LATINO/A Intermediate and advanced courses develop students’ critical and analytical abilities while STUDIES exploring ancient works in their literary, historical, and cultural context. Conference projects provide The Latin American and Latino/a studies (LALS) opportunities for specialized work in areas of program is devoted to the interdisciplinary interest in classical antiquity. Recent conference investigation of Latin American, Caribbean, and projects include close readings of Homer’s Iliad, Latino cultures, politics, and histories. Through a Aristophanes’s Clouds, Pindar’s Odes, Plato’s variety of disciplines, students will have Republic, Cicero’s de Amicitia, the poetry of Catullus, opportunities to explore the vibrant cultural life of and Virgil’s Aeneid, as well as studies of modern Latin American and Caribbean countries, as well as theories of myth, Nietzsche’s Birth of Tragedy (in the experiences of the Latino communities in the connection with the tragedies of Aeschylus, United States. 86 Lesbian, Gay, Bisexual, and Transgender Studies Course offerings will include language, Women, Culture, and Politics in US History (p. 78), literature, dance, film, music, art, and other cultural Lyde Cullen Sizer History expressions as a way to familiarize the students with First-Year Studies: Literature, Culture, and Politics in a world that is rich in imagination, powerful in social US History, 1770s–1970s (p. 68), Lyde Cullen impact, and defiant of the stereotypes usually Sizer History imposed upon it. Students will also interrogate the Latin American Literature and Film: Beyond the complex political dynamics involved in such Boom (p. 92), Heather Cleary Literature processes as (post)colonialism, migration, Immigration and Identity (p. 134), Deanna revolution, social movements, citizenship, and the Barenboim Psychology cultural politics of race, gender, sexuality, and class. First-Year Studies: From Schools to Prisons: The histories of conquest, colonialism, development, Inequality and Social Policy in the United and resistance in the area also require broad inquiry States (p. 141), Luisa Laura Heredia Public Policy into the often turbulent and violent realities of The Politics of “Illegality,” Surveillance, and political economic forces. Protest (p. 142), Luisa Laura Heredia Public As this program is concerned with a broad set Policy of border crossings, faculty in LALS are also Advanced Beginning Spanish: Pop committed to expanding educational experiences Culture(s) (p. 154), Heather Cleary Spanish beyond Sarah Lawrence College. Accordingly, Beginning Spanish (p. 154), Eduardo Lago Spanish students are encouraged to study abroad through Cuban Literature and Film Since 1959—Vivir y Sarah Lawrence College programs in Cuba, Argentina, pensar en Cuba (p. 155), Isabel de Sena Spanish and Peru or with other programs in Latin America. Intermediate Spanish II: Juventud, divino Students will also have opportunities to explore the tesoro... (p. 155), Isabel de Sena Spanish borderlands closer to Sarah Lawrence College, The Ideas of Photography (p. 176), Joel Sternfeld including Latino communities in New York City and Visual and Studio Arts Westchester County. The New Narrative Photography (p. 176), Joel Sternfeld Visual and Studio Arts Courses offered in related disciplines this year are Nonfiction orkW shop: To Tell the Truth (p. 183), listed below. Full descriptions of the courses may be Suzanne Gardinier Writing found under the appropriate disciplines. Spaces of Exclusion, Places of Belonging (p. 7), Deanna Barenboim Anthropology LESBIAN, GAY, BISEXUAL, AND First-Year Studies: Histories and Theories of Photography (p. 10), Sarah Hamill Art History TRANSGENDER STUDIES History of Economic Thought and Economic History: Lesbian, Gay, Bisexual, and Transgender studies Economic and Legal Foundations (p. 36), (LGBT) is an interdisciplinary field that engages Jamee K. Moudud Economics questions extending across a number of areas of Introduction to Economic Theory and Policy (p. 36), study. Sarah Lawrence College offers students the Jamee K. Moudud Economics opportunity to explore a range of theories and issues Legal Foundations to Business History: Corporate concerning gender and sexuality across cultures, Governance, Democracy, and Economic categories, and historical periods. This can be Transformation (p. 38), Jamee K. Moudud accomplished through seminar course work and Economics discussion and/or individual conference research. Food, Agriculture, Environment, and Development (p. 61), Joshua Muldavin Global Queer Literature: Dystopias Geography Introduction to Development Studies: The Political and Hope Ecology of Development (p. 63), Joshua Shoumik Bhattacharya Muldavin Geography Open, Seminar—Fall Liberation: Contemporary Latin America (p. 77), In this seminar, we will study queer texts and films, Margarita Fajardo History considering their particular articulations of queer Making Latin America (p. 72), Margarita Fajardo life and its possibilities. Texts will cover a large History swath of time, from the early 20th century until the The Problem of Empire: A History of Latin present, and will range across genres such as America (p. 75), Margarita Fajardo History speculative feminist fiction, first nations narratives, postcolonial novels, and contemporary Bollywood films. eW will end the course by looking at science THE CURRICULUM 87 fiction that xplore es life in spaces that some erroneously labeled her a “transgender male” consider dystopian futures but are already becoming sprinter. The label may have been inaccurate, but it the present for many. As this arc indicates, an nevertheless brought into relief the command that underlying theme of the course will be the biological “truths” about sex and gender hold in the maintaining of the creativity and vitality of everyday public imagination. Moreover, the bizarreness of this life while drowning in literal and discursive trash. error demonstrates that the gendering of bodies is a Across the globe, queer lives have already been lived slippery and shifting social and historical product, in materially and discursively toxic contexts. determined not by biological knowledge alone but in Engaging with text and films produced across the tandem with matrices of race, gender, sexuality, world—set in places such as South Africa, India, class, ability, and nation. This course will introduce Britain, and even galaxies yet undiscovered—we will students to the burgeoning field of trans studies by think through the lessons that the creation of a interrogating links between biological data and queer life illuminate for us. Queer life within the gendered embodiment and among institutions, context of this seminar refers to the multifarious identification, and politics. How did the categories of ways in which marginalized and non-normative trans and cis develop alongside larger bodies and peoples create social and political lives. technoscientific processes such as the “discovery” Carefully considering the contexts and possibilities of sex hormones and shifting conceptualizations of that the characters encounter, we will explore how sex and gender? How are trans bodies inhabited queer is a term that translates and mutates in across diverging cultural contexts? Finally, what are interesting ways across time and place. In paying the political stakes of organizing under a category attention to the specificities of the et xts, queer itself that is both partially produced by institutions such is thus a term that we will reckon with. Taking as science, medicine, and the law and, at the same seriously questions of race, class, nationality, and time, resistant to those institutions? Students will gender, we will consider what a queer orientation to be exposed to theories from trans studies and to a these hegemonic structures produces or reveals, not variety of case studies—from medical anthropology, only in past literary texts but also as a way of to the history of science, to cultural studies, to queer imagining a hopeful future. As we encounter air and ethnography. The goal will be not only to enrich water that is more polluted, toxic even, than at any understandings of the category transgender as it time homo sapiens have walked the Earth, the only plays out historically and contemporarily but also to response may seem to be pessimism. Rejecting develop a conceptual toolkit, with its basis in pessimism, we will ask what queer futures and hope empirical studies, to unpack the naturalization of we can imagine at a moment of planetary crisis. (racialized) sex and gender and to apprehend the Assignments for this course will include one production of biological facts and gendered bodies presentation, two short class essays (6-8 pages), with critical acumen. As such, students may and your conference paper. Potential primary texts: conceive of potential conference topics broadly in Sultana’s Dream, Rokeya Sakhawat Hussain (1905); the history of science/medicine, feminist theory, Passing, Nella Larsen (1929); Lihaaf, Ismat Chugtai medical anthropology, and disability studies, to (1942); Douloti the Bountiful, Mahasweta Devi (1995); name a few. The House of Hunger, Dambudzo Marechera (1978); The Buddha of Suburbia, Hanif Kureishi (1990); Perverts in Groups: Queer Social Disgrace, J. M. Coetzee (1999); Elizabeth Costello, J. M. Coetzee (2003); Bloodchild, Octavia Butler (1994); Lives Animal’s People, Indra Sinha (2007); The Ministry of Julie Abraham Utmost Happiness, Arundhati Roy (2017); Happy Sophomore and above, Seminar—Fall Together (film, 1997); Margarita With a Straw (film, Contradictory assumptions about the relation of 2014); and Pumzi (film, 2009). homosexuals to groups have dominated accounts of modern LGBT life. In Western Europe and the United States, from the late-19th century onward, queers Engendering the Body: Sex, have been presented as profoundly isolated Science, and Trans Embodiment persons—burdened by the conviction that they are Emily Lim Rogers the only ones ever to have had such feelings when Open, Seminar—Spring they first ealizer their deviant desires and When the endogenous levels of testosterone immediately separated by those desires from the circulating in the body of South African runner families and cultures into which they were born. Yet, Caster Semenya, a cisgender woman, were deemed at the same time, these isolated individuals have to be “too high” for women’s sports, media outlets been seen as inseparable from one another, part of a 88 Lesbian, Gay, Bisexual, and Transgender Studies worldwide network, always able to recognize their assessed. How has modern culture thought about peers by means of mysterious signs decipherable sexuality and art, love and literature? How might we only by other group members. Homosexuals were think again? Conference work may be focused on a denounced as persons who did not contribute to particular artist, set of texts, or genre or some society; homosexuality was presented as the aspect of the historical background of the materials hedonistic choice of reckless, self-indulgent that we will be considering. individualism over sober social good. Nevertheless, all homosexuals were implicated in a nefarious Courses offered in related disciplines this year are conspiracy, stealthily working through their web of listed below. Full descriptions of the courses may be connections to one another to take over the found under the appropriate disciplines. world—or the political establishment of the United States, for example, its art world, theatre, or film Telling Lives: Life History Through industries. Such contradictions could still be seen in Anthropology (p. 7), Mary A. Porter the battles that have raged since the 1970s, when Anthropology queers began seeking public recognition of their First-Year Studies: Histories and Theories of lives within existing social institutions, from the Photography (p. 10), Sarah Hamill Art History military to marriage. LGBT persons were routinely Histories of Modern and Contemporary Art (p. 11), attacked as threats (whether to unit cohesion or the Sarah Hamill Art History family) intent on destroying the groups they were Feminist Economics (p. 37), Kim Christensen working to openly join. In this class, we will use Economics these contradictions as a framework for studying Diversity and Equity in Education: Issues of Gender, the complex social roles that queers have occupied Race, and Class (p. 78), Nadeen M. Thomas and some of the complex social worlds they have History created—at different times and places, shaped by Women, Culture, and Politics in US History (p. 78), different understandings of gender, race, class, Lyde Cullen Sizer History ethnicity, and nationality—within the United States First-Year Studies: Literature, Culture, and Politics in over the past century and a half. Our sources will US History, 1770s–1970s (p. 68), Lyde Cullen include histories, sociological and anthropological Sizer History studies, the writings of political activists, fiction, Comparative Literary Studies and Its Others (p. 94), and film. Bella Brodzki Literature The Philosophy of Music (p. 105), Martin Goldray Music Pretty, Witty, and Gay Introduction to Social Theory: Philosophical Tools for Julie Abraham Critical Social Analysis (p. 117), David Peritz Sophomore and above, Seminar—Spring Philosophy Are you ready to review your cultural map? As Challenges to Development: Child and Adolescent Gertrude Stein once said, “Literature—creative Psychopathology (p. 140), Jan Drucker literature—unconnected with sex is inconceivable. Psychology But not literary sex, because sex is a part of Intersectionality Research Seminar (p. 138), something of which the other parts are not sex at Linwood J. Lewis Psychology all.” More recently, Fran Leibowitz observed, “If you “Sex Is Not a Natural Act”: Social Science removed all of the homosexuals and homosexual Explorations of Human Sexuality (p. 130), influence from what is generally regarded as Linwood J. Lewis Psychology American culture, you would be pretty much left The Ideas of Photography (p. 176), Joel Sternfeld with Let’s Make a Deal.” We do not have to limit Visual and Studio Arts ourselves to America, however. The only question is, The New Narrative Photography (p. 176), Joel where to begin: in the pantheon, in prison, or “in the Sternfeld Visual and Studio Arts family”; in London, Paris, Berlin, or New York; with First-Year Studies: Writing and the Racial the “friends of Dorothy” or “the twilight women.” Imaginary (p. 178), Rattawut Lapcharoensap There are novels, plays, poems, essays, films, and Writing critics to be read and read about, listened to or Nonfiction Writing Seminar: Mind as Form: The watched. There are dark hints, delicate suggestions, Essay, Personal and Impersonal (p. 184), Vijay “positive images,” “negative images,” and sympathy- Seshadri Writing grabbing melodramas to be reviewed. There are high Nonfiction orkW shop: To Tell the Truth (p. 183), culture and high camp, tragedies and comedies, the Suzanne Gardinier Writing good, the bad, and the awful to be enjoyed and THE CURRICULUM 89

Poetry: What Holds the Unsayable (p. 186), Marie literature and cultivate a sense of literary history, Howe Writing especially “genealogies” traceable across ancient The Kids Are All Right: Fiction Workshop (p. 181), and medieval texts. Students will meet with the Leah Johnson Writing instructor for individual conferences on a biweekly basis over the course of the year. During the first semester, individual conferences will also alternate with biweekly group conference meetings, in which LITERATURE students will find opportunities to hone their research skills and study course material within The literature discipline introduces students to the different theoretical frameworks that complicate history of written culture from antiquity to the and develop close readings of texts. Individual present day, as well as to methods of research and conference projects should be semester-long; textual analysis. Course offerings cover therefore, students will complete two projects over major works in English and other languages in the course of the year. Possible conference topics addition to literary criticism and theory. Some include the study of a particular ancient, medieval, courses focus on individual authors (Virgil, or Renaissance author or literary text pertaining to Shakespeare, Woolf, Murakami); others, on literary the course and of interest to the student. Conference genres (comedy, epic), periods (medieval, topics may include the adventures of medieval postmodern), and regional traditions (African romance, the symbolic landscapes and seascapes of American, Iberian). Students are encouraged to early British and European literature, utopia and employ interdisciplinary approaches in their dystopia in early modern literature, gendered research and to divide their time between past and understandings of exile as marginalization, religious present, as well as among poetry, prose, drama, and interpretations of exile, and travel theoretical texts. narratives—including the works of Ibn Battuta and First-Year Studies: The Literature John Mandeville. of Exile from Ancient Rome to Renaissance England First-Year Studies: The Perils of Gillian Adler Passion: Ancient Greek History for Open, FYS—Year Today’s Troubled Times The course will examine representations of exile and Emily Katz Anhalt diaspora in literary texts from ancient epic to Open, FYS—Year Renaissance drama. We will examine authors who Are we unwittingly reliving the past? were displaced from their communities, such as the Authoritarianism, magical thinking, and tribalism are antique Roman poet Ovid and the medieval Italian beginning to characterize the 21st century as they poet Dante, and explore how they expressed characterized archaic Greece. Over centuries, anxieties about ostracism and distance through both however, the ancient Greeks experienced a autobiographical and fictional orms.f We also will movement in the opposite direction: They began to discuss how they used their works to leverage the prioritize reality, condemn tyranny, and experiment physical experience of exile into more empowering with broader forms of political participation. In the perspectives and positions of distance. Reading fifth entc ury BCE, the ancient Greeks devised, epics—including Virgil’s Aeneid, the Anglo-Saxon simultaneously, the concepts of history and poem Beowulf, and Milton’s Paradise Lost—we will democracy. As the Athenians were experimenting consider the possibilities of freedom, discovery, and with the world’s first-ever democratic political transformation in exile. In these narratives, exile has institutions, the historians Herodotus and the potential to instigate political foundation, Thucydides distinguished history from myth and creative production, and spiritual discovery. Finally, offered examples of behaviors to emulate or to avoid. this course will look at the metaphors of exile used These early historians can help us today to analyze by early female authors, including Christine de Pizan facts, identify causes and consequences, and avoid and Margery Kempe, both to articulate and to the pitfalls of the past. Students will read (in English subvert positions of gendered marginalization. translation) Herodotus’s Histories and Thucydides’s Through the study of a range of literary texts, then, History of the Peloponnesian War, as well as selected we will see how authors found ways of legitimizing works by Aeschylus, Euripides, Aristotle, and Ps.- themselves or their characters in the face of Xenophon. Students will meet with the instructor ostracism and displacement. In the process, individually for a half-hour conference once every students will develop their ability to analyze 90 Literature two weeks. On the alternate weeks, when individual focus will be on how writers use the geography of conferences do not meet, the entire class will meet Paris—its streets, monuments, markets, and for a group conference. slums—to depict the complexities of modern life, posing the urban landscape as a place of revolution First-Year Studies: German and banality, alienation and community, seduction and monstrosity. We will pay particular attention to Cultural Studies From the ways in which the representation of the city 1871–Present allowed writers to question the form and function of Roland Dollinger literature itself. We will begin with the 19th-century Open, FYS—Year French novelists and poets who made Paris the site In this course, students will learn about the major of epic literary struggles, including Honoré de Balzac, cultural and historical developments in Germany Charles Baudelaire, Victor Hugo, Guy de Maupassant, since the late 19th century through an in-depth and Émile Zola. We will see how the city provided analysis of many masterpieces of modern German fertile ground for the aesthetic experimentations of literature (novels, stories, plays), philosophy, 20th-century literature in works by Guillaume psychoanalysis, and film. Germany has seen five Apollinaire, André Breton, Colette, and Georges Perec. different political systems since its modern Our study will explore writers who have recorded the inception as a nation state in 1871: an aristocracy often violent and traumatic history of modern Paris, ruled by the German emperor; the Weimar Republic; such as Marguerite Duras, Leïla Sebbar, and Patrick the Nazi dictatorship; a divided Germany with a Modiano. Finally, we will analyze how Paris is socialist government in the East; and the creation of experienced as a cosmopolitan space in works about a reunified Germany after the fall of the Berlin Wall expatriates, immigrants, exiles, and travelers from in 1990. While this is not a history course, students authors as varied as Henry James, Gertrude Stein, will be required to accompany their analyses of Ernest Hemingway, James Baldwin, Alain Mabanckou, literary, cinematic, and intellectual works with a Faïza Guène, and Enrique Vila-Matas. Beyond our reading of a history book about modern Germany. In focus on close readings of literary texts, students the fall semester, we will cover the period between will have the opportunity to read some historical and 1871 and 1945; in the spring semester, the emphasis theoretical considerations of Paris. We will also will be on the period between 1945 and today. Among watch several films where Paris features the writers, intellectuals, and filmmakers whose prominently. This class will alternate biweekly works we will study in the first semester are Rainer individual conferences with biweekly small group Maria Rilke, Thomas Mann, Hermann Hesse, Franz activities, including writing workshops, screenings, Kafka, Sigmund Freud, C. G. Jung, Remarque, Bertolt and field trips. No knowledge of French is required for Brecht, Irmgard Keun, Leni Riefenstahl, and Martin this course. Heidegger; in the spring semester, Wolfgang Staudte, Heinrich Böll, Alfred Andersch, Anna Seghers, First-Year Studies: European Wolfgang Borchert, Friedrich Dürrenmatt, Max Frisch, Bernhard Schlink, Judith Hermann, W. G. Sebald, Literature: Past and Present Günther Grass, Helga Sanders-Brahms, and F. Henckel Eduardo Lago von Donnersmarck. The course will combine one-on- Open, FYS—Year one conference work with group activities and Literature defines the identity of cultures and exercises designed to help students make the nations perhaps more powerfully than anything else, transition from high school to college life, learn the bringing together peoples, races, and communities. ins and outs of Sarah Lawrence College, prepare This gives a special significance to the importance of students to succeed academically, and foster a translation. In a world where borders have become sense of community spirit among our FYS class. obsolete in many ways, approaching other cultures through their artistic manifestations is an essential necessity. Literature is one of these manifestations, First-Year Studies: Modern Myths as it defines societies and ommunitiesc beyond the of Paris fluid notion of nationality, now in process of Jason Earle transformation worldwide. Geopolitically, all Open, FYS—Year continents have an astonishing wealth of literatures; This course will explore the powerful hold that Paris and in a global context, Europe—the subject of exerted on literature in the 19th and 20th centuries, radical transformations in the last decades—is just the period when the city became a world capital of one of them. The seat of ancient civilizations and artistic, intellectual, and political life. Our guiding empires that conquered the rest of the world, the THE CURRICULUM 91

Europe of today is dramatically different from what Stoppard—and look at Preston Sturges’s (and it once was. After the devastation brought by war possibly other) screwball comedies. Both semesters’ and genocide and the collapse of formidable utopias, reading lists are subject to revision. contemporary European reality is extraordinarily elusive and complex. Immigrants and refugees are at Theatre and the City the base of the radical transformation being experienced on the continent. More than 40 Joseph Lauinger languages are spoken in almost as many European Open, Lecture—Year countries nowadays, each of them represented by a Athens. London. Paris. Berlin. New York. The history vibrant body of literature produced, to a great extent, of Western theatre has always been associated with by men and women with deep cultural roots in cities, their politics, their customs, their geography, distant places. The face of Old Europe has changed their audiences. This course will track the story of through a process that cannot be reversed and has theatre as it originates in the Athens of the fifth- become unrecognizable. In this course, we will study century B.C.E. and evolves into its different the literary manifestations of the new Europe, a expressions and practices in cities of later periods, multicultural, multiethnical, linguistically diverse, all of them seen as "capitals" of civilization. Does and immensely varied conglomerate of societies. theatre civilize? Or is it merely a reflection of any Before we confront the vitality of the newer literary given civilization whose cultural assumptions inform manifestations, we will study a number of canonical its values and shape its styles? Given that ancient texts from the past. In our approach, we will pay Greek democracy gave birth to tragedy and comedy special attention to Europe’s youngest generations in civic praise of the god Dionysos—from a special of authors, with a special focus on women writers. coupling of the worldly and the sacred—what We will examine sociopolitical displacements happens when these genres recrudesce in the resulting from the impact of immigration and the unsavory precincts of Elizabethan London, the incessant arrival of unwanted refugees. In group polished court of Louis XIV, the beer halls of Weimar conference, we will pay attention to other cultural Berlin, and the neon “palaces” of Broadway? manifestations—mainly studying old and new forms Sometimes the genres themselves are challenged by of music and, very specially, film. Individual experiments in new forms or by performances conference meetings will alternate biweekly with deliberately situated in unaccustomed places; by small-group conference meetings that will tinkering with what audiences have come to expect incorporate research methods, writing workshops or where they have come to assemble, do for conference projects, field trips, and films, asell w playwrights like Euripides, Brecht, and Sarah Kane as the study of old and new forms of music destabilize civilized norms? Grounding our work in complementing our texts. Greek theatre, we will address such questions in a series of chronological investigations of the theatre produced in each city: Athens and London in the first First-Year Studies: The Forms and semester; Paris, Berlin, and New York in the second. Logic of Comedy Fredric Smoler Chaucer and Literary London Open, FYS—Year Gillian Adler Comedy is a startlingly various form, and it operates Open, Lecture—Fall with a variety of logics: It can be politically Geoffrey Chaucer is well-known today as the “Father conservative or starkly radical, savage or gentle, of English Poetry” for his innovative use of Middle optimistic or despairing. In this course, we will English in verse. During his lifetime, however, his explore some comic modes—from philosophical reputation was political and social and his presence, comedy to modern film—and xe amine a few local and international. Chaucer’s career as a London theories of comedy. A tentative reading list for the civil servant and diplomat was paramount to his first semester includes poems by Swift and Yeats, a poetic vocation. In the House of Fame, he even mocks song, a Platonic dialogue (the Protagoras), and then himself for sitting at his desk after work to compose moves on to a work on the philosophy of comedy, poetry each day. This course will investigate Aristophanes’s Old Comedy (The Clouds), Plautus’ Chaucer’s works in a biographical and insular New Comedy, Roman satire, Shakespeare’s A context, reading his poetry in relation to his 14th- Midsummer Night’s Dream, As You Like It, and Twelfth century urban milieu and to significant late medieval Night, Molière, and Fielding. In the second semester, events such as the Black Plague and the Great Rising we will read (among other things) Byron, Stendhal, of 1381. We will study not only the dream vision Mark Twain, Dickens, Philip Roth, and Tom poems, Troilus and Criseyde and the Canterbury Tales, 92 Literature but also the works of other so-called Ricardian Poets Latin American Literature and of Chaucer’s age to explore more broadly the Film: Beyond the Boom thematic preoccupations of London writers. Such topics include authority through authorship, dreams Heather Cleary and the imagination, sexuality and the tradition of Open, Lecture—Spring antifeminism, as well as hierarchies of power and This interactive lecture will take as its point of the changing class structure. Examining these topics departure the historical context and major works of through a range of critical lenses, we will see how the Latin American Boom in the 1960s and ’70s, then Chaucer and his friends dramatized controversial go on to explore essential voices that were conversations of the time through the vernacular overlooked during this period, as well as tongue—not only staking a new claim for English contemporary writing and film. As part of our literariness but also making those conversations analysis of these works, we will reflect on the available to us as modern readers. creative and commercial dimensions of their appearance in English translation. Readings include works by Gabriel García Márquez, Julio Cortázar, Love Languages: Amorous Lyric Clarice Lispector, Samanta Schweblin, Cristina Rivera and Narrative in the Middle Ages Garza, Alejandro Zambra, Yuri Herrera, and Valeria and the Renaissance Luiselli. We will also view films yb Lucrecia Martel Gillian Adler and Claudia Llosa, among others. Though this is a Open, Lecture—Spring lecture, students will participate in group activities Some say our idea of romantic love was invented in and class discussions. Two registration options are the Middle Ages. In the 12th century, cultural available. TRACK 1 (5 credits): participation in both transformations were prompted by Church reforms lecture and group conference; assignments include in favor of mutual consent and loving marriage, as regular reflections on the oursec materials, a well as the rise of an aristocracy that valued midterm exam, and a final paper. TRACK 2 (3 credits): courtship and chivalry. Contemporary literary works participation in lecture, a midterm exam, and a final only reinforced new ideals and forms of love. The paper. This course is taught in English. courtly “love languages” of the medieval era then influenced a phenomenon of Renaissance love Romanticism and Its poetry. This course will examine the development of Consequences in English- amorous lyric and narrative from the High Middle Language Poetry Ages to the Renaissance, focusing on the burgeoning discourses of amour courtois and the rapid Neil Arditi popularization of the sonnet form as a medium for Open, Seminar—Year declarations of desire—from Dante and Petrarch in The first half of this oursec will explore the work of Italy to Sir Philip Sidney and Shakespeare in England. the most influential poets writing in English in the The love that emerges in the selected texts may be time between the French Revolution and the secretive and illicit but also liberating and American Civil War. One of the goals of the course is empowering, reflecting the author’s complex and to demonstrate the ways in which modern poetry sometimes contradictory visions of romance and originated in this period. In the wake of the French marriage. We will examine themes of love-suffering, Revolution, Blake and Wordsworth, among others, service to the always-distant beloved, and obsessive invented a new kind of poetry that largely devotion but also consider the works of female internalized the myths that they had inherited from authors who undermine these traditional attributes literary and religious traditions. The poet’s inner life of courtship and highlight female subjectivity. The became the inescapable subject of the poem. In the idealization of lovers and the emphasis on self- second half of the course, we will trace the impact sacrifice in these literary works will indeed prove of 19th-century Romanticism on subsequent problematic to our modern understandings of gender generations of poets writing in English, with roles in relationships in ways that will demonstrate particular attention to the first half of the 20th the otherness of the medieval and Renaissance century. Our preeminent goal will be to appreciate periods. Yet, they also will stress the familiarly each poet’s—indeed, each poem’s—unique transcendent and ennobling effects of love. The contribution to the language. Our understanding of belief in the enduring nature of personal bonds will literary and historical trends will emerge from the pertain to our discussion of how authors sought to close, imaginative reading of texts. Authors will ensure their immortal celebrity through love poetry. include: Blake, Wordsworth, Coleridge, Shelley, Keats, THE CURRICULUM 93

Whitman, Dickinson, Tennyson, Robert Browning, perspective and depend on a unique “I” speaking Christina Rossetti, Hardy, Frost, Stevens, Yeats, and T. directly to readers and focusing on a wide variety of S. Eliot. personal experiences. In the 19th century, Herman Melville’s Moby Dick, Frederick Douglass’s Narrative Doing It for the Culture: Journeys of the Life of Frederick Douglass, and Mark Twain’s Huckleberry Finn are all first-person narratives. In Through Revelation, Aspiration, the early 20th century, the same first-person and Soul strategy holds for Willa Cather’s My Antonia, F. Scott Marcus Anthony Brock Fitzgerald’s The Great Gatsby, and Ernest Open, Seminar—Year Hemingway’s A Farewell to Arms. This course will Is it possible to teach or produce African American begin by surveying the classic, first-person texts of literature without discussing black identity, the American literature and then move on to such African, or the experiences within the African modern work as Sylvia Plath’s The Bell Jar, James diaspora? For students of literature and ethnic Baldwin’s Notes of a Native Son, and Maxine Hong studies, “literature” can connote fine lines; but Kingston’s The Woman Warrior. At the heart of this African American literature and those who write course is the premise that contemporary, American within it are writing within a specific history. Thus, first-person writing is an extension, not a departure, how does the literature provide a space for from classic American first-person writing. sustaining the cultural traditions of African Americans, interracial relations, queer black bodies, History Plays blackness as pathology, and blackness as an Afrofuture? The class begins with Phillis Wheatley’s Fredric Smoler “On Being Brought from Africa to America,” or from Open, Seminar—Year the “Dark Continent,” as it was named by Some of the greatest dramatic literature is set in an imperialists. Before we turn to America, we shall era preceding its composition. This is always true of first urnt to the African before she became African a form of dramatic literature that we usually call by American. Throughout the semester, we will source a different name (Plato’s dialogues); but it is also and investigate the poetics of spirituals and visual true of some of the most celebrated drama, plays we culture that provoke the black experience in identify with the core of the Western theatrical America. This course begins in the fall with a theme tradition (for example, much of Greek tragedy), and on “chains and freedom,” as we look to writings of it is very famously true of some of the greatest work the 18th- and 19th-century Afrofuturists; but the by Shakespeare, Schiller, and Corneille. Some of the course will continue into the spring with a theme on best contemporary playwrights also set some of Afrofuturism as a modern rumination of aspiration their work in the past: Tom Stoppard’s Travesties, and possibility. During the spring component, we will Arcadia, The Invention of Love, and The Coast of endeavor to identify the impact of modern African Utopia are all, in one or another sense, history plays. American literature, visual culture, feminism, queer Setting a play in the past can create and exploit visibility, and class consciousness within hip hop dramatic irony (the audience knows the history to culture. On thinking of Amy Sherald’s spectacular come, the protagonists usually cannot), but there is painting in the National Portrait Gallery, “Michelle no single reason for setting a play in the past. For LaVaughn Robinson Obama,” Sherald remarked that some playwrights, history provided the grandest kind Mrs. Obama is painted in grayscale to represent the of spectacle, a site of splendid and terrible (hence, past, present, and future—simultaneously. We shall dramatic) events. Their treatment of the past may turn to the literature to understand more fully what not depict it as radically discontinuous with the that sentiment could mean for modern writers and present or necessarily different in kind. Other artists who are greatly influenced by the blueprints playwrights may make the past setting little more left behind by the late and great writers and by than an allegory of the present; Shaw’s Caesar and artists who came before them. Cleopatra (1898) seems to be a celebration of Victorian liberal imperialism. The playwright may set work in the past as part of an urgent analysis of the First-Person America origins of his own situation: Michael Frayn’s best Nicolaus Mills play, Benefactors, was written in 1984 but set in the Open, Seminar—Year late 1960s and attempts to locate the causes of the To a remarkable degree, the most important then-recent collapse of political liberalism, seeking American literature texts, whether fiction or in history an answer that could be found only there. nonfiction, are written from a first-person But another of Frayn’s plays with a historical setting, 94 Literature Copenhagen, does not necessarily focus on Japanese Diary Literature, Essays, something irretrievably past; its interests may rather and the “I” Novel be concentrated on a living problem of undiminished urgency. Peter Weiss’s Marat/ Sade, arguably the Sayuri I. Oyama most successful work of 1960s political theatre, was Open, Seminar—Fall a history play focused on what then seemed the In this seminar, we will read personal narratives over explicit and unbreakable link between late 18th- the last millennium to examine how personal century politics and the politics of the present. A experiences are translated and transformed in recent play by Alan Bennett, The History Boys, seeks writing. We will begin with selections of diary to illuminate something about the political present literature, including Ki no Tsurayuki’s Tosa Diary (c. by examining a changing fashion in the teaching of 935), in which a fictional emalef narrator claims history. In this course, we will read a number of that she will “try her hand at one of those diaries works of dramatic literature—all of them, in one that men are said to keep” and explore the sense or another, history plays written for various connections between gender and writing. We will purposes and of generally very high quality. We may also read the Kagero Diary (c.974), whose author is or may not discover anything common to all history known as the Mother of Michitsuna, and consider plays, but we will read some good books. both its autobiographical elements as well as its psychological self-expression and critical perspective on Heian marriage politics. Next, we will Comparative Literary Studies and turn to personal essays referred to as zuihitsu Its Others (literally translated as “following the brush”), Bella Brodzki including imperial lady-in-waiting Sei Shonagon’s Open, Seminar—Fall The Pillow Book (c.1005), Buddhist recluse Kamo no As a discipline that defines itself as an inherently Chomei’s An Account of a Ten-Foot-Square Hut (c. interdisciplinary, cross-cultural, and transnational 1212), and more secular Buddhist monk Kenko’s enterprise, comparative literature occupies a Essays in Idleness (c. 1329-1333). Finally, we will turn distinct place in the humanities. Many locate the toward the modern “I” novel (shishosetsu)—an origins of “comp lit” in Goethe’s conception of autobiographical narrative that often involves a form Weltliteratur, according to which the literary of confession of one’s personal life—to read works imagination transcends national and linguistic by writers such as Tayama Katai, Shiga Naoya, borders even as it views every work of literature as Hayashi Fumiko, Dazai Osamu, Tsushima Yuko, historically situated and aesthetically unique. Since Mizumura Minae, and others. Alongside these texts, its beginnings, comparative literature has we will read other critical sources that explore foregrounded the dynamic tensions between text questions of genre, translation, biographical and and context, rhetoric and structure—comparing other historical “facts,” and how these influence and different works within and across genre, period, and challenge our readings of personal narratives. No movement in their original language. By balancing previous background in Japanese studies is required theoretical readings in/about comparative literature for this course. with concrete examples of close textual analyses of poems, short stories, and novels, this course will also The Poetry of Earth: Imagination expose students to the ways in which comparative and Environment in English literature has expanded from its previous classically cosmopolitan and fundamentally Eurocentric Renaissance Poetry perspectives to its current global, cultural William Shullenberger configurations. Comparative literature is continually Open, Seminar—Fall reframing its own assumptions, questioning its One of John Keats’s sonnets begins, “The poetry of critical methodologies, and challenging notions of earth is never dead.” This course will step back from center and periphery—therefore, subverting Keats to the writing of several of his great traditional definitions of the anonc and which predecessors in the English Renaissance to reflect on writers belong in it. Today, it is impossible to study how imagination shapes environment and comparative literature without engaging its relation environment shapes imagination in the early modern to translation studies, postcolonial and diaspora period. The late 16th and 17th centuries were a time studies, and globalization, as well as to the ongoing of transition between traditional, feudal concerns and various approaches of language-rich society—with its hierarchical ideas of order, of literary criticism and theory. humanity, and of nature—and emerging modernity, with its secularizing humanism, its centralization of THE CURRICULUM 95 political and economic power, its development of p’Bitek, Brutus, Mapanje, and others. Conference increasingly dense and complex urban centers, and work may include further, deeper work on the its commitments to the study and potential mastery writings, writers, and genres that we study together of nature through empirical science. With early in class; aspects of literary theory, particularly modernity come all of the challenges to natural aspects of postcolonial and womanist theory environment and its resources that we are so relevant to readings of African literature; or readings familiar with and challenged by: urban sprawl and of more recent writers out of Africa whose work environmental degradation, privatization of land, air draws on and develops the “classical” works that and water pollution, deforestation and exhaustion of will be the foundation of our work together. other resources, and diminishment of local species populations. We will study how several major writers Poetry and the Book register and respond to these tensions and these changes in what we might call their environmental Fiona Wilson vision, their imagination of nature: as wilderness, Open, Seminar—Fall the “other” to civilization and its values, as chaos Putting a book of poetry together is a difficult and and threat, as liminal space of transformation, as complex task. The poet must consider not only the pastoral retreat, as cultivatable human habitation order of the poems but also the internal narrative of and home. Class reading will include major works of the book as a whole: how its constituent parts Shakespeare, Edmund Spenser, John Milton, Andrew “speak” to each other; how key themes and patterns Marvell, and Margaret Cavendish. Conference work are developed and articulated; how to begin the may entail more extended work in any of these book; and, even harder, how to end it. Yet, students writers or literary modes or other authors who are often encounter poetry primarily through engaged in theorizing and imagining nature—and anthologies, with the result that first affiliationse ar may include study in history, philosophy, geography, fragmented and obscured. In this class, we take the politics, or theory. opposite tack and explore the book of poetry as an event in itself. We read and discuss books by English- language poets across two centuries, from William Conscience of the Nations: Blake’s artisanal, hand-tinted works to Frank Classics of African Literature O’Hara’s portable “lunch poems.” How have William Shullenberger individual writers sought to shape readers’ Open, Seminar—Fall experiences through the patterning of content? One way to think of literature is as the conscience of What kinds of creative decisions—from cover to a people, reflecting on their origins, their values, typeface—affect the appearance of a poetry book? their losses, and their possibilities. This course will What happens when a poet’s work is edited study major representative texts in which sub- posthumously? Or when a book appears in multiple, Saharan African writers have taken up the challenge evolving versions? How has the work of some poets of cultural formation and criticism. Part of what intersected with visual art? Possible authors: gives the best writing of modern Africa its aesthetic William Blake, Walt Whitman, Emily Dickinson, W. B. power is the political urgency of its task: The past Yeats, Gertrude Stein, Mina Loy, Frank O’Hara, still bears on the present, the future is yet to be Harryette Mullen, Anne Carson, Terence Hayes, written, and what writers have to say matters Claudia Rankine, Stephanie Strickland, and others. enough for their work to be considered dangerous. Political issues and aesthetic issues are, thus, Realism and the Sense of an inseparable in their work. Creative tensions in the Ending writing between indigenous languages and European languages, between traditional forms of orature and Wendy Veronica Xin story-telling and self-consciously “literary” forms, Open, Seminar—Fall register all the pressures and conflicts of late Struggling for a sense of authenticity and adhering colonial and postcolonial history. To discern the to a referential imperative, literary realism has often traditionalist sources of modern African writing, we been described—and despised—as nothing more will first eadr examples from epic, folk tales, and than a conservative imitation of life, a mere other forms of orature. Major fiction will be selected description of what, as fiction, itself ouldc never be. from the work of Tutuola, Achebe, Beti, Sembene, Ba, When 19th-century realist novels succeeded in Head, Ngugi, La Guma, Dangaremgba, and Sarowiwa; achieving aesthetic closure and rendering drama from the work of Soyinka and Aidoo; poetry beginnings and endings symmetric, the novels from the work of Senghor, Rabearivelo, Okigbo, Okot became particular objects of criticism. Fictional 96 Literature resolutions bestowed a formal unity fundamentally resistant to Nazi oppression. Interspersed with irreconcilable with the ungovernable, chance-ridden primary texts and films will be secondary materials reality that the realist novel sought to capture. Our drawn from testimony, trauma theory, and memory seminar will attempt to read against these views of studies. Texts will be read in English translation; realism's closural policies, approaching the genre students of French will have the opportunity to read less as an elusive object or thwarted literary method texts in the original. Among the authors to be studied and more as an anxiety, a desire, and a form of self- are Sartre, Duras, Beauvoir, Camus, Vercors, conscious falling short. Lingering over major works Némirovsky, Semprun, Céline, Modiano, Perec, and by George Eliot, Gustave Flaubert, Elizabeth Gaskell, Salvayre. Filmmakers could include Truffaut, Malle, Henry James, and Thomas Hardy, we will think Lelouch, Melville, Chabrol, Carné, and Ophüls. seriously about how aesthetic issues of genre, convention, and the sense of closure can deepen our Reading Ōe Kenzaburō and understanding of the social structures of ordinary, open-ended experiences of agency and subjection, Murakami Haruki loss and exclusion, disenchantment and hope. While Sayuri I. Oyama we will spend a good deal of class time puzzling over Open, Seminar—Spring the intricacies and idiosyncrasies of the selected In this course, we will read English translations of texts from a decidedly literary and literary-historical two of the most famous contemporary Japanese perspective, we will supplement our close textual writers, Ōe Kenzaburō (b.1935) and Murakami Haruki engagements with the novels in question with a (b.1949). Ōe was awarded the Nobel Prize in broader theoretical exposure to classical accounts of Literature in 1994 for creating “an imagined world, realism by Auerbach, Aristotle, Barthes, Jameson, where life and myth condense to form a Lukács, Ruskin, and others. disconcerting picture of the human predicament today.” Murakami’s fiction has been described as “youthful, slangy, political, and allegorical” and The Occupation and Its Aftermath seamlessly blends the mundane with metaphysical in French Literature and Film elements. We will consider not only differences Bella Brodzki, Jason Earle between these two writers’ works but also their Open, Joint seminar—Spring similar themes—social outcasts, alienation, search This course will explore the fraught relationship for identity, memory and history, legends and between representation and memory by focusing on storytelling. Our readings will include novels, short French literature and film produced during and stories, nonfiction, and other essays. Several films following World War II. After the fall of France in will complement our readings. No previous 1940, the country was divided into two parts: one background in Japanese studies is required for this half under German occupation; the other half ruled course. by a collaborationist regime headquartered in Vichy. Every aspect of life, including cultural and artistic Odyssey/Hamlet/Ulysses production, was subject to authoritarian control. Means of political expression and dissemination William Shullenberger came up against laws instituting surveillance, Open, Seminar—Spring censorship, rationing, roundups, and deportations to James Joyce’s Ulysses, one of the most important internment and concentration camps. We will focus novels of literary modernism, tracks its two major on the unique position of writers and filmmakers as characters, hour by hour, through the streets of witnesses to, and interpreters of, national Dublin, Ireland, on a single day, June 16, 1904. Never humiliation, personal catastrophe, and collective have the life of a modern city and the interior lives of shock. Artists, under both the occupation and the its inhabitants been so densely and sensitively Vichy government, were forced to choose whether to chronicled. But the text is not only grounded in the speak out, join the resistance, collaborate, or keep “real life” of turn-of-the-century Dublin; it is also silent. During the decades that followed liberation, deeply grounded in literary landscapes, characters, writers proved integral to the (re)appraisals of and plots that stretch back to Shakespeare—and France’s conduct during the war. The first half of beyond Shakespeare to Homer. This class offers the this course will be devoted to texts and films chance for close study of three great texts that are produced from 1940-1945, while the second half will deeply implicated in one another: Homer’s Odyssey, address postwar efforts to reconcile, contextualize, Shakespeare’s Hamlet, and Joyce’s Ulysses. The and, in some cases, justify a political and historical themes of circular journeying, fate, identity, parent- narrative that framed France as both heroic and child relations, and indebtedness—and “the THE CURRICULUM 97 feminine mystique” that we trace in the Odyssey and Green Romanticisms: The Garden Hamlet—will prepare us for a careful and joyful and the Wild reading of Joyce’s exuberant human comedy in Ulysses. Conference work may entail more extended Fiona Wilson work in these major authors or other authors and Open, Seminar—Spring texts roughly contemporary with them or The Romantic Movement, it has been said, produced subsequently responding to them, whose work the first “full-fledged ecological writers in the extends and complicates the intertextual webs we Western literary tradition.” To make this claim, will be weaving in class. however, is to provoke a host of volatile questions. What exactly did the Romantics mean by “Nature”? What were the aesthetic, scientific, and political Slavery: A Literary History implications of so-called Green Romanticism? Most William Shullenberger provocatively, is modern environmental thought a Open, Seminar—Spring continuation of Green Romanticism—or a necessary This course aims to provide a long view of literary reaction against it? If, as William Cronon famously representations and responses to slavery and the stated, “the time has come to rethink wilderness,” slave trade in the Americas, from William what forms of rethinking might be necessary? If the Shakespeare to Toni Morrison. Expressing the garden, as Jamaica Kincaid has written, is “an conflicted public conscience—and perhaps the exercise in memory,” can we use the past to imagine collective unconscious—of a nation, literature a better future? This semester-long course considers registers vividly the human costs (and profits) and such issues through the prism of two centuries of dehumanizing consequences of a social practice British and American literature, with additional whose legacy still haunts and implicates us. We will forays into art, science, and architecture. Possible study some of the major texts that stage the central areas of discussion may include the following: crises in human relations, social institutions, and garden utopias, landscape design, imperialism, human identity provoked by slavery, considering in terror, botany, medicine, the visionary imagination, particular how those texts represent the perverse “wild consciousness,” walking, vegetarianism, the dynamics and identifications of the master-slave sex life of plants, deism, beauty, dirt, sublime relationship; the systematic assaults on family, longings, organic form, and the republic of nature. identity, and community developed and practiced in slave-owning cultures; modes of resistance, survival, The Poetics of Place and subversion cultivated by slave communities and individuals in order to preserve their humanity and Wendy Veronica Xin reclaim their liberty; and retrospective constructions Open, Seminar—Spring of, and meditations on, slavery and its historical Thornfield Hall, Satis House, Maison auquerV , consequences. Since literary structure and style are Manderley, Thrushcross Grange, Wuthering not only representational but also are means of Heights...from pristine estates and tattered ruins to subversion, resistance, and reclamation, we will do a English moors and Scottish islands, spaces lot of close reading. Readings will be drawn from the memorialized in novels and films summon a deep- works of William Shakespeare, Aimé Cesaire, Aphra seated nostalgia for bygone eras, familiar Behn, Olaudah Equiano, Frederick Douglass, Harriet characters, a certain way of life, scenes of reading Beecher Stowe, Mark Twain, Charles Chesnutt, recalled. This course will examine the spaces in and William Faulkner, Toni Morrison, Octavia Butler, and of fiction yb interrogating exactly how our affective Edward P. Jones. Conference work may entail more immersion within a narrative feels like a longing for extended work in any of these writers or literary the solidity of a physical or geographical site. modes or other writers engaged in the Throughout the semester, we will return time and representation and interrogation of slavery; may be again to a set of grounding questions: When does a developed around a major theme or topic; and may fictional structure take on the contours of “the include background study in history, philosophy, real”? What do we mean when we talk about “space” geography, politics, or theory. or “form” in books that appear materially as nothing more than flat, solid, bounded things? How is the diegetic content of a novel or film enhanced by its formal and aesthetic representations of an entire invented cosmos with its own rules, characters, topography, texture? Why are narrative resolutions often premised on either a longed-for return to a specific place or a dreaded repetition of the events 98 Literature tied to particular spaces? We will pair our The Marriage Plot: Love and engagement with narrative form and literary Romance in American and English representations of space with more theoretical meditations on utopia, diasporic longing, Fiction displacement, migration, belonging, and the feeling Nicolaus Mills of finding or having found a place in the world. Sophomore and above, Seminar—Year Taking these abstract, phenomenal topics into a “Reader, I married him. A quiet wedding we had,” literal register, we will end our course by reflecting Charlotte Brontë’s title character exclaims in the on how reading in translation and navigating the concluding chapter of Jane Eyre. Jane’s wedding may leap from novel to film adaptation might itself be quiet, but the steps leading up to her marriage constitute a sense of uprootedness and with a man who once employed her as a governess disorientation that compels new forms of are tumultuous. With the publication of Jane Eyre, we attachment and affiliation.eadings R will include have left behind the early marriage-plot novel in Balzac’s Père Goirot, Brontë’s Jane Eyre, Dickens’s which a series of comic misunderstandings pave the Great Expectations, Hardy’s Far from the Madding way for a joyous wedding. This course will begin with Crowd, and Ishiguro’s Never Let Me Go, alongside such classic marriage-plot novels as Jane Austen’s possible viewings of films ot be selected from a list Emma, George Eliot’s Middlemarch, Henry James’s including Assayas’s Summer Hours (L’Heure d’eté), Portrait of a Lady, and Edith Wharton’s The House of Coppola’s Lost in Translation, Fukunaga’s Jane Eyre, Mirth. But the course will also look at love and Hitchcock’s Rebecca, Kieslowski’s Red, and Tati’s courtship in such untraditional marriage-plot novels Playtime. as Kate Chopin’s The Awakening, Virginia Woolf’s Mrs. Dalloway, F. Scott Fitzgerald’s The Great Gatsby, and Zora Neale Hurston’s Their Eyes Were Watching Eight American Poets: Whitman to God. By the time the course concludes with Jeffrey Ashbery Eugenides’s contemporary novel, The Marriage Plot, Neil Arditi the marriages and courtships we see will be Sophomore and above, Seminar—Year distinctly modern in the form that they take and, American poetry has multiple origins and a vast equally significant, in the complexity and array of modes and variations. In this course, we will uncertainty that they bring with them. First-year focus our attention on the trajectories of eight major students may enroll with permission of the instructor American poetic careers. We will begin with Emerson, Whitman, and Dickinson—fountainheads Studies in the 19th-Century Novel of the visionary strain in American poetic tradition—before turning to a handful of their most Ilja Wachs prominent 20th-century heirs: Robert Frost, Wallace Sophomore and above, Seminar—Year Stevens, T. S. Eliot, Hart Crane, and Elizabeth Bishop. This course entails an intensive and close textual Some of the poems that we will be reading are encounter with the novelistic worlds of the 19th- accessible on a superficial level and present century realist tradition, the first fictional aditiontr challenges to interpretation only on closer to accept social reality as the ultimate horizon for inspection; other poems—most notably, the poems human striving. The 19th-century novels that we will of Dickinson, Stevens, Eliot, and Crane—present study are all intensely critical of the severe significant challenges at the most basic level of limitations to human wholeness and meaning posed interpretation. The major prerequisite for this course by the new social world that they were confronting. is, therefore, a willingness to grapple with literary At the same time that they accept the world as a difficulty—with passages of poetry that e,ar at setting and boundary for human life, the novels seek times, wholly baffling or highlyesist r ant to to find grounds for transcending its limitations. We paraphrase. We will seek to paraphrase them will explore in these novelists’ works the tensions anyway—or account, as best we can, for the between accepting the world as given and seeking to meanings that they create out of the meanings that transcend it. At the same time, we will try to they evade. Our central task will be to appreciate and understand why—in spite of a century-and-a-half of articulate the unique strengths of each of the poems great historical and cultural change—these novels (and poets) that we encounter through close, continue to speak with such beauty, depth, and imaginative reading and informed speculation. wisdom to the issues posed by the human condition. We will read the works of novelists such as Tolstoy, Dostoevsky, Balzac, Stendhal, Eliot, Austen, Dickens, Twain, and Goethe. THE CURRICULUM 99 Austen Inc.: 18th-Century Women environments (exterior, interior, threshold, frame, Writers center, periphery, etc.) and the natural histories of the Hudson River. Writing assignments ask students James Horowitz to reflect on their wno relationships to place through Intermediate, Seminar—Year memory, experience, and research-based knowledge, By the time of her death in 1817, Jane Austen could including the politics and poetics of presence, boast that books by women had “afforded more temporariness, and disappearance. Multimodal extensive and unaffected pleasure than those of any composition is part of our explorations of writing, other literary corporation in the world.” A mere including linguistic, visual, aural, and gestural modes century and a half earlier, it was still a rarity for a of rhetoric, as well as digital tools. woman to publish under her own name. This course traces the emergence of professional female Other courses of interest are listed below. Full authorship from the end of the Renaissance to the descriptions of the courses may be found under the heyday of Romanticism, along the way introducing appropriate disciplines. students to the most illustrious and intriguing members of Austen’s “literary corporation.” We will How Things Talk (p. 5), Aurora Donzelli Anthropology divide our time between authors who remain Lift Up Your Hearts: Art and Architecture of the familiar today (Aphra Behn, Mary Wollstonecraft) Baroque—Europe and Its Colonies, and those who have been unjustly forgotten (Eliza 1550–1700 (p. 10), Joseph C. Forte Art History Haywood, Elizabeth Inchbald). The texts we cover will First-Year Studies: Chinese Literature, Folktales, and be as eclectic as the authors themselves, ranging Popular Culture (p. 14), Ellen Neskar Asian from lyric poems to Gothic novels, sex comedies to Studies political jeremiads, fantasy literature to travel Writing India: Transnational Narratives (p. 16), writing, slave narratives to courtship fiction. The Sandra Robinson Asian Studies centerpiece of the spring semester will be an First-Year Studies: Introduction to Environmental extended discussion of Austen’s own work, including Studies: Cultures of Nature (p. 39), Charles at least three of her novels and a selection from her Zerner Environmental Studies outrageous juvenilia. The popular and scholarly Intermediate French I (Section I): French reception of 18th-century women’s writing will also Identities (p. 58), Eric Leveau French be considered. Prerequisite: Completion of at least Intermediate French III/Advanced French: The one prior course in literature Fantastic, the Surreal, and the Eerie (p. 59), Jason Earle French Rhetoric of Place: Writing in Beginning Greek (p. 66), Emily Katz Anhalt Greek Yonkers (Ancient) First-Year Studies: The Disreputable 16th Una Chung Century (p. 69), Philip Swoboda History Intermediate, Seminar—Fall Russia and Its Neighbors: From the Mongol Era to This course is part of the Intensive Semester in Lenin (p. 70), Philip Swoboda History Yonkers program and no longer open for interviews Russia and Its Neighbors: Lenin to Putin (p. 71), and registration. Interviews for the program take Philip Swoboda History place during the previous spring semester. Women, Culture, and Politics in US History (p. 78), In this seminar, we explore the concept of place Lyde Cullen Sizer History through literary and art criticism, as well as First-Year Studies: Literature, Culture, and Politics in students’ own historical research, fieldwork, and US History, 1770s–1970s (p. 68), Lyde Cullen direct perception. We investigate the spatial, Sizer History temporal, and sensory dimensions of place in diverse Advanced Italian: Fascism, World War II, and the figures: home, mythos of origin, container Resistance in 20th-Century Italian Narrative technologies, development timelines, migratory and Cinema (p. 83), Tristana Rorandelli Italian mapping, futurity of desire, nowhere of utopia, other Intermediate Italian: Modern Italian Culture and spaces of heterotopia, postmodern placelessness, Literature (p. 83), Tristana Rorandelli Italian queer disorientation, sacred spaces, histories of Beginning Latin (p. 85), Laura Santander Latin hauntings, environmental anima, affective Perverts in Groups: Queer Social Lives (p. 87), Julie geographies, and imaginary cartographies. We Abraham Lesbian, Gay, Bisexual, and examine social and political histories of Yonkers, as Transgender Studies well as investigate the cultural significance of both Pretty, Witty, and Gay (p. 88), Julie Abraham Lesbian, the architectural/urban designs of built Gay, Bisexual, and Transgender Studies 100 Mathematics Global Queer Literature: Dystopias and Hope (p. 86), MATHEMATICS Shoumik Bhattacharya Lesbian, Gay, Bisexual, and Transgender Studies Whether they had any interest in mathematics in Existentialism (p. 117), Roy Ben-Shai Philosophy high school, students often discover a new Theories of the Creative Process (p. 137), Charlotte L. appreciation for the field at Sarah Lawrence College. Doyle Psychology In our courses—which reveal the inherent elegance The Psychological Impact of Art (p. 135), Alison Jane of mathematics as a reflection of the orldw and how Martingano Psychology it works—abstract concepts literally come to life. Jewish Autobiography (p. 146), Glenn Dynner Religion That vitality further emerges as faculty members Readings in the Hebrew Bible: The Wisdom adapt course content to fit student needs, Tradition (p. 145), Cameron C. Afzal Religion emphasizing the historical context and philosophical Storytelling and Spirituality in Classical underpinnings behind ideas and theories. Islam (p. 145), Kristin Zahra Sands Religion By practicing rigorous logic, creative problem The Emergence of Christianity (p. 145), Cameron C. solving, and abstract thought in small seminar Afzal Religion discussions, students cultivate habits of mind that Beginning Russian (p. 148), Melissa Frazier Russian they can apply to every interest. With well- Cuban Literature and Film Since 1959—Vivir y developed, rational thinking and problem-solving pensar en Cuba (p. 155), Isabel de Sena Spanish skills, many students continue their studies in Intermediate Spanish II: Juventud, divino mathematics, computer science, philosophy, tesoro... (p. 155), Isabel de Sena Spanish medicine, law, or business; others go into a range of Media Burn: Moving Image Installation in careers in fields such as insurance, technology, Practice (p. 175), Jenny Perlin Visual and Studio defense, and industry. Arts Fiction Workshop: Style (p. 181), Rattawut An Introduction to Statistical Lapcharoensap Writing Fiction Writing Workshop (p. 180), Mary LaChapelle Methods and Analysis Writing Daniel King First-Year Studies: Ecopoetry: Poetry in Relation to Open, Lecture—Fall the Living World (p. 179), Marie Howe Writing Correlation, regression, statistical significance, and First-Year Studies: Necessary Hero (p. 178), Mary margin of error...you’ve heard these terms and other LaChapelle Writing statistical phrases bantered about before, and you’ve First-Year Studies: Writing and the Racial seen them interspersed in news reports and Imaginary (p. 178), Rattawut Lapcharoensap research articles. But what do they mean? And why Writing are they so important? Serving as an introduction to Nonfiction Writing Seminar: Mind as Form: The the concepts, techniques, and reasoning central to Essay, Personal and Impersonal (p. 184), Vijay the understanding of data, this lecture course Seshadri Writing focuses on the fundamental methods of statistical Nonfiction orkW shop: To Tell the Truth (p. 183), analysis used to gain insight into diverse areas of Suzanne Gardinier Writing human interest. The use, misuse, and abuse of Nonfiction Laboratory (p. 185), Stephen O’Connor statistics will be the central focus of the course, and Writing specific opicst of exploration will be drawn from Nonfiction orkW shop: The World and You (p. 184), experimental design theory, sampling theory, data Clifford Thompson Writing analysis, and statistical inference. Applications will Our World, Other Worlds (p. 180), Myra Goldberg be considered in current events, business, Writing psychology, politics, medicine, and other areas of the The Rules—and How to Break Them (p. 180), Nelly natural and social sciences. Statistical Reifler Writing (spreadsheet) software will be introduced and used Writing Our Moment (p. 184), Marek Fuchs Writing extensively in this course, but no prior experience A Question of Character: The Art of the with the technology is assumed. Conference work, Profile (p. 185), Alice Truax Writing conducted in workshop mode, will serve to reinforce student understanding of the course material. This lecture is recommended for anybody wishing to be a better-informed consumer of data and strongly recommended for those planning to pursue graduate THE CURRICULUM 101 work and/or research in the natural sciences or functions. For conference work, students may social sciences. Prerequisite: basic high-school choose to undertake a deeper investigation of a algebra and geometry. single topic or application of the calculus or conduct a study of some other mathematically-related topic. Calculus I: The Study of Motion This seminar is intended for students interested in advanced study in mathematics or sciences, and Change students preparing for careers in the health sciences Philip Ording or engineering, and any student wishing to broaden Open, Seminar—Fall and enrich the life of the mind. The theory of limits, Our existence lies in a perpetual state of change. An differentiation, and integration will be briefly apple falls from a tree; clouds move across expansive reviewed at the beginning of the term. Prerequisites: farmland, blocking out the sun for days; meanwhile, one year of high-school calculus or one semester of satellites zip around the Earth transmitting and college-level calculus. Students concerned about receiving signals to our cell phones. Calculus was meeting the course prerequisites are encouraged to invented to develop a language to accurately contact the instructor as soon as possible. This describe and study the motion and change course is also being offered in the spring semester of happening around us. The Ancient Greeks began a this academic year. detailed study of change but were scared to wrestle with the infinite; so it was not until the 17th century that Isaac Newton and Gottfried Leibniz, among Strange Universes: An others, tamed the infinite and gave birth to this Introduction to Non-Euclidean extremely successful branch of mathematics. Geometry Though just a few hundred years old, calculus has Philip Ording become an indispensable research tool in both the Open, Seminar—Fall natural and social sciences. Our study begins with If you draw two straight lines on a piece of paper, it’s the central concept of the limit and proceeds to not difficulto t keep them from crossing. Imagine, explore the dual processes of differentiation and however, that the lines extend in both directions off integration. Numerous applications of the theory will the page and without end. Do these hypothetical be examined. For conference work, students may lines cross? Surprisingly, this mundane question choose to undertake a deeper investigation of a goes to the heart of our modern conception of space. single topic or application of calculus or conduct a Your experience might suggest that the lines will study of some other mathematically-related topic. cross unless they head off the edge of the page at This seminar is intended for students interested in exactly the same angle. In that case we call the lines advanced study in mathematics or sciences, parallel; and this is the answer Euclid asserts with students preparing for careers in the health sciences his fifth (or “parallel”) postulate of the “Elements.” or engineering, and any student wishing to broaden Roughly 2,000 years later, mathematicians came to and enrich the life of the mind. Prerequisites: the shocking realization that lines need not obey the successful completion of trigonometry and parallel postulate. The resulting non-Euclidean precalculus courses. Students concerned about geometries were so unexpected to the meeting the prerequisites should contact the mathematicians who first oncc eived of them that instructor. This course is also offered in the spring one, János Bolyai, remarked, “Out of nothing I have semester. created a strange new universe.” This course will explore the alternatives to Euclidean geometry that Calculus II: Further Study of first appeared in the 19th century. These include Motion and Change hyperbolic, spherical, and projective geometry, as well as more idiosyncratic geometries that we will Nick Rauh devise together. Our exploration of these strange Open, Seminar—Fall universes will be aided by visualizations that include This course continues the thread of mathematical drawing, computer-graphics animation, and video- inquiry following an initial study of the dual topics of game technology. Throughout, we will discuss the differentiation and integration (see Calculus I course impact of the non-Euclidean revolution on description). Topics to be explored in this course astronomy, philosophy, and culture. include the calculus of exponential and logarithmic functions, applications of integration theory to geometry, alternative coordinate systems, infinite series, and power series representations of 102 Mathematics Calculus I: The Study of Motion advanced study in mathematics or sciences, and Change students preparing for careers in the health sciences or engineering, and any student wishing to broaden Faculty TBA and enrich the life of the mind. The theory of limits, Open, Seminar—Spring differentiation, and integration will be briefly Our existence lies in a perpetual state of change. An reviewed at the beginning of the term. Prerequisite: apple falls from a tree; clouds move across expansive one year of high-school calculus or one semester of farmland, blocking out the sun for days; meanwhile, college-level calculus. Students concerned about satellites zip around the Earth transmitting and meeting the prerequisite should contact the receiving signals to our cell phones. Calculus was instructor. This course is also offered in the fall invented to develop a language to accurately semester. describe and study the motion and change happening around us. The Ancient Greeks began a detailed study of change but were scared to wrestle Multivariable Mathematics: Linear with the infinite; so it was not until the 17th century Algebra, Vector Calculus, and that Isaac Newton and Gottfried Leibniz, among Differential Equations others, tamed the infinite and gave birth to this Nick Rauh extremely successful branch of mathematics. Intermediate, Seminar—Year Though just a few hundred years old, calculus has This yearlong course will cover the central ideas of become an indispensable research tool in both the linear algebra, vector calculus, and differential natural and social sciences. Our study begins with equations from both a theoretical and a the central concept of the limit and proceeds to computational perspective. These three topics explore the dual processes of differentiation and typically comprise the intermediate series of courses integration. Numerous applications of the theory will that students study after integral calculus but be examined. For conference work, students may before more advanced topics in mathematics and choose to undertake a deeper investigation of a the sciences. This course will be especially single topic or application of calculus or conduct a meaningful for students interested in pure or applied study of some other mathematically-related topic. mathematics, the natural sciences, economics, and This seminar is intended for students interested in engineering but would also be a great choice for advanced study in mathematics or sciences, students who have completed the calculus sequence students preparing for careers in the health sciences and are simply curious to see how deep the rabbit or engineering, and any student wishing to broaden hole goes. While our focus will be primarily on the and enrich the life of the mind. Prerequisites: mathematics itself, the tools we will develop are successful completion of courses in trigonometry useful for modeling the natural world—and we will and precalculus. Students concerned about meeting look at some of those applications. Conference work the prerequisites should contact the instructor. This will revolve around pursuing the theory or course is also offered in the fall semester. application of those topics on a deeper level, according to students' personal interests. Calculus II: Further Study of Prerequisite: successful completion of Calculus II or a Motion and Change score of 4 or 5 on the AP Calculus BC exam. Philip Ording Open, Seminar—Spring Discrete Mathematics: Gateway to This course continues the thread of mathematical Higher Mathematics inquiry following an initial study of the dual topics of Daniel King differentiation and integration (see Calculus I course Intermediate, Seminar—Fall description). Topics to be explored in this course There is an enormous, vivid world of mathematics include the calculus of exponential and logarithmic beyond what students encounter in high-school functions, applications of integration theory to algebra, geometry, and calculus courses. This geometry, alternative coordinate systems, infinite seminar provides an introduction to this realm of series, and power series representations of elegant and powerful mathematical ideas. With an functions. For conference work, students may explicit goal of improving students’ mathematical choose to undertake a deeper investigation of a reasoning and problem-solving skills, this seminar single topic or application of calculus or conduct a provides the ultimate intellectual workout. Five study of some other mathematically-related topic. important themes are interwoven in the course: This seminar is intended for students interested in logic, proof, combinatorial analysis, discrete THE CURRICULUM 103 structures, and philosophy. For conference work, Introduction to Mechanics (General Physics Without students may design and execute any appropriate Calculus) (p. 121), Alejandro Satz Physics project involving mathematics. A must for students Resonance and Its Applications (p. 121), Merideth interested in pursuing advanced mathematical Frey Physics study, this course is also highly recommended for students with a passion for computer science, engineering, law, logic, and/or philosophy. Prior study of calculus is highly recommended. MIDDLE EASTERN AND ISLAMIC STUDIES

Abstract Algebra: Theory and Classes from disciplines such as art history, Applications economics, geography, history, politics, religion, and Philip Ording sociology comprise the classes available within this Advanced, Seminar—Spring cross-disciplinary path. In pre-college mathematics courses, we learned the basic methodology and notions of algebra. We Courses offered in related disciplines this year are appointed letters of the alphabet to abstractly listed below. Full descriptions of the courses may be represent unknown or unspecified quantities. eW found under the appropriate disciplines. discovered how to translate real-world (and often Life, Death, and Violence in (Post)Colonial France complicated) problems into simple equations whose and Algeria (p. 6), Robert R. Desjarlais solutions, if they could be found, held the key to Anthropology greater understanding. But algebra does not end The Anthropology of Images (p. 5), Robert R. there. Abstract algebra examines sets of objects Desjarlais Anthropology (numbers, matrices, polynomials, functions, ideas) The Emergence of the Modern Middle East (p. 72), and operations on these sets. The approach is Matthew Ellis History typically axiomatic: One assumes a small number of The Middle East and the Politics of Collective basic properties, or axioms, and attempts to deduce Memory: Between Trauma and all other properties of the mathematical system Nostalgia (p. 77), Matthew Ellis History from these. Such abstraction allows us to study, Women and Gender in the Middle East (p. 75), simultaneously, all structures satisfying a given set Matthew Ellis History of axioms and to recognize both their commonalties Storytelling and Spirituality in Classical and their differences. Specific opicst to be covered Islam (p. 145), Kristin Zahra Sands Religion include groups, actions, isomorphism, symmetry, The Qur’an and Its Interpretation (p. 145), Kristin permutations, rings, fields, and applications of these Zahra Sands Religion algebraic structures to questions outside of The Ideas of Photography (p. 176), Joel Sternfeld mathematics. Visual and Studio Arts The New Narrative Photography (p. 176), Joel Other courses of interest are listed below. Full Sternfeld Visual and Studio Arts descriptions of the courses may be found under the Nonfiction orkW shop: To Tell the Truth (p. 183), appropriate disciplines. Suzanne Gardinier Writing Compilers (p. 29), Michael Siff Computer Science Computational Number Theory (p. 28), Nick Rauh Computer Science MODERN AND CLASSICAL Computer Organization (p. 28), Michael Siff Computer Science LANGUAGES AND LITERATURES Quantum Computing (p. 28), James Marshall At Sarah Lawrence College, we recognize that Computer Science languages are, fundamentally, modes of being in the 20th-Century Physics Through Three Pivotal world and uniquely reveal the way that we exist as Papers (p. 121), Merideth Frey Physics human beings. Far from being a mechanical tool, Classical Mechanics (Calculus-Based General language study encourages self-examination and Physics) (p. 120), Merideth Frey Physics cross-cultural understanding, offering a vantage Electromagnetism and Light (Calculus-Based point from which to evaluate personal and cultural General Physics) (p. 121), Merideth Frey Physics assumptions, prejudices, and certainties. Learning a Exploring the Universe: Astronomy and new language is not about putting into another Cosmology (p. 120), Alejandro Satz Physics verbal system what you want or know how to say in 104 Music your own language; rather, it is about learning by or 20th-century Japanese cinema for a class on film listening and reading and by gaining the ability to history, or performing German lieder or Italian opera think in fundamentally different ways. in voice class or Molière in a theatre class. The The College offers seven modern and two language faculty also offers literature courses in classical languages and literatures. Students may translation, so that students can choose to combine take Chinese, French, German, Italian, Japanese, literature study with conference work in the original Russian, and Spanish from beginning to advanced languages. We also sponsor an annual journal of levels that equally stress the development of translation, Babel, which invites submissions from communicative skills such as speaking, listening across the College. comprehension, reading, and writing, as well as the Finally, our open curriculum encourages study of literature written in these languages in students to plan a semester or an entire year abroad, Europe, Africa, Asia, and the Americas. We also offer and a large percentage of our students spend their Greek (Ancient) and Latin at the beginning, junior year in non-English-speaking countries. In intermediate, and advanced levels, emphasizing the addition to our long-established programs in exploration of ancient texts in their original Florence, Catania, Paris, and Cuba, the College has historical, political, artistic, and social contexts and recently initiated study-abroad programs in encouraging an assessment of ancient works on Barcelona, Peru, and Tokyo. There are also two their own terms as a means of elucidating both summer programs: German Studies, Art and timeless and contemporary human issues and Architecture, and Dance in Berlin; Translation Studies concerns. in Buenos Aires. Our study-abroad programs are As is the case for all seminars at Sarah usually based on a concept of “full immersion,” Lawrence College, our language classes are capped including experiences such as study at the local at 15. Students have unparalleled opportunities to university, homestays, and volunteer work in the engage with the language in and out of country. We also send students to many non-Sarah class—including individual and group conferences, Lawrence College programs all over the world. weekly meetings with language assistants in small Languages offered include: groups, language clubs, and language lunch tables. • Chinese Our proximity to New York City offers terrific • Classics opportunities to encounter the cultures and • French languages that we teach—through lectures, • German exhibits, plays, films, opera, and many other cultural • Greek (Ancient) events that are readily available. Conference work in • Italian a language class provides an opportunity for • Japanese students to pursue their own particular interest in • Latin the language. Student conference projects are • Russian exceptionally diverse, ranging from reading or • Spanish translation, internships, or work on scholarly or creative writing to listening to music, watching films, or the xte ended study of grammar. In Greek (Ancient) and Latin courses, beginning students MUSIC acquire in one year a solid foundation in grammar, The music program is structured to integrate theory syntax, and vocabulary. Equivalent to three courses and practice. Students select a combination of at other colleges and universities, one year of Greek component courses that together constitute one full (Ancient) or Latin at Sarah Lawrence College course, called a Music Third. A minimal Music Third empowers students to read ancient texts with includes four components: precision and increasing facility. At the intermediate 1. Individual instruction (instrumental and advanced levels, students refine their linguistic performance, composition, or voice), the abilities while analyzing specific ancient authors, central area of study around which the rest of genres, or periods—often in comparison to later the program is planned artists, writers, theorists, or critics. 2. Theory and/or history (see requirements The interdisciplinary approach across the below) curriculum at Sarah Lawrence College also means 3. A performance ensemble (see area that students can take their study of language to requirements below) conference work for another class; for example, 4. Concert attendance/Music Tuesdays (see reading primary texts in the original Spanish for a requirements below) class on Borges and math, studying Russian montage THE CURRICULUM 105 The student, in consultation with the faculty, plans The Philosophy of Music the music program best-suited to his or her needs Martin Goldray and interests. Advanced students may, with faculty Open, Lecture—Spring consent, elect to take two-thirds of their course of Music is central to most of our lives. How can we study in music. understand the experience of music? What does music express? If it expresses emotions, how do First-Year Studies in Music those emotions relate to the emotions we experience Carsten Schmidt in everyday life? Can music without words express Open, FYS—Year emotions with as much clarity as music with words? This course is designed for students with all levels of As a background to these questions, we will also be prior music experience, from beginning to advanced. looking at issues concerning the nature and Each student will be enrolled in a full music program experience of art of general; and we will examine the that reflects Sarah Lawrence College’s educational views of writers such as Plato, Kant, Schopenhauer, philosophy of closely integrating theory and practice Dewey, and Adorno and compare how they in the study of music. The music program (also understand the role of art in society and in our own called a Music Third) consists of a number of experience. The musical repertory will include components: individual instruction in voice, an medieval and Renaissance music, music by Bach, instrument, or composition; courses in history and/ songs by Schubert, and examples from the or theory; participation in an ensemble; and concert symphonic repertory by composers such as Haydn, attendance. In addition, all students in this course Mozart, Beethoven, Schubert, Tchaikovsky, and will be members of a weekly seminar that provides a Stravinsky. We will study those works using the forum to explore a broad range of musical topics in techniques of formal analysis that are generally both artistic and critical ways. Throughout the year, used in music-history classes but also attempt to we will attend numerous performances on campus, draw out the many contextual threads: How are they as well as in New York City; for instance, at the embedded in a culture, and how do they reflect the Metropolitan Opera, Carnegie Hall, and the Brooklyn temperament and orientation of the composers? Academy of Music. We mostly will start with live While most of our musical examples will be from the musical experiences in order to generate our classical repertory, other styles will also occasionally investigations. The seminar will also feature be relevant. The goals of the class will be to frequent in-class performances by guest artists, understand how musical and philosophical thought class members, and the instructor. The music that can illuminate each other and to deepen our we study in class will range from the early 16th awareness of the range and power of music. No prior century to the early 21st. Our emphasis will be on knowledge of music theory or history is required; we Western classical music and will occasionally will introduce and define the ermst we need as the include jazz, non-Western, and popular music class proceeds. This course may also be taken as a traditions, as well. In order to develop and improve semester-long component. their insights and their ability to share those insights with others, students will write regular response papers and give short presentations. In the spring, The Creative Process: Influence students will also undertake a larger research and Resonance project. This is a full Music Third open to students at Chester Biscardi any level interested in the study and performance of Advanced, 3-credit seminar—Spring music. This seminar/workshop is for advanced students in all of the creative arts—composers, choreographers, LECTURES AND SEMINAR—The following lectures and writers, and visual artists—who are interested in seminar with conferences are offered to the College the process of developing original material. There is community. Each constitutes one-third of a no singular creative path, but each artist needs to student’s program, or they may be taken as a confront the past in order to find a unique vision, a component in one of the Performing Arts Third unique voice. We will examine various influences on programs (Music, Dance, and Theatre). See creative thought, finding esonantr clues and COMPONENTS, below, for specific equirr ements for methods in areas outside of one’s chosen creative students taking Advanced Theory. field. In each session, the point of departure will always begin with music where, for instance, “influence” may be understood as direct musical quotation from a specific ompositionc or a structural idea based on a literary or visual image while 106 Music “resonance” is about incorporating without actually humanities or social science distribution credit. This imitating another composer’s particular sound or course may also be taken as a semester-long translating into music the color and texture of a component. painting. Since the world is rich with collaborative interconnections, we will explore everything that Ecomusicology: Music, Activism, might have an impact on making new work—from musical antiquity to the far reaches of technology, and Climate Change as well as ritual and myth, the role of nature, art and Niko Higgins architecture, literature, memory, politics and Open, Seminar—Spring protest, nationalism, and global culture. Along with This course looks at the intersections of music, assigned readings and listening to and looking at culture, and nature. We will explore music in nature, various media, students will actively seek out and music about nature, and the nature of music in document sources of inspiration and will keep a human experience. We will study how artists and journal in which they will record their personal musicians are using music and sound to address experiences and working methods and insights into climate change by surveying important trends in the the creative process. Biweekly group conferences young field of ecomusicology, such as soundscape will serve as “open studios,” where individual studies, environmental musical criticism, acoustic projects or collaborative work will be explored. The ecology, and animal musicalities. Themes will range term will culminate in class presentations of either a from music vs. sound and the cultural construction new work or an in-depth paper based on research. of nature to aurality and the efficacy of sonic Students may choose to take this course for creative activism. Class sessions may include Appalachian arts credit (creative final project) or humanities coal-mining songs, indigenous music from the credit (final esearr ch paper). Permission of the Arctic, art music composition, soundscapes, field instructor is required. recordings, birdsong, soundwalks, and musical responses to environmental crises such as Hurricane Katrina and the nuclear accident in Fukushima, Cross-Cultural Listening Japan. Participation in the Faso Foli (West African Niko Higgins percussion) ensemble is strongly encouraged. This Open, Lecture—Fall course may be counted as either humanities or social This course will explore the relationship of listening, science credit. This course may also be taken as a music, and sound across different cultural and semester-long component. No prior experience in historical contexts. Recent scholarship on listening music is necessary. and sound has revealed how listening plays a crucial role in the formulation of theories about music, and we will study how various ideas about listening The Art of Interpretation inform contemporary understandings of music and Martin Goldray sound. Drawing research from the field of sound Open, Seminar—Fall studies, cultural theory, and ethnographic case Interpretation is a central activity in human studies in ethnomusicology and anthropology, we experience—it’s how we make sense of things from will understand key concepts of listening with works of art to peoples’ actions; but much of the specific musical and sonic examples. Course units time we’re unaware of how we go about making our may include technologies of listening, listening as an interpretations. In the classical music world, impetus for empathy and to stimulate political interpretation is central and usually carefully action, strategies for listening to cultural and considered. Every moment of a performance of musical difference, and music and sound as tools for classical music is mediated through the performer’s both torture and healing. Individual class sessions interpretation. Much of what we do as performers may include sound technologies such as the goes far beyond the instructions on the page. Are phonograph and the MP3; soundscapes; music there rules or constraints on this process? What therapy; and the listening contexts of individual criteria can we use to evaluate performances? How genres such as South African pop, Buddhist chant, have performance styles changed, and how can we Arabic maqamat, muzak, and EDM. Participation in relate those changes to our contemporary tastes? In one of the world music ensembles is strongly this class, we will look at scores and listen to encouraged. No prior experience in music is performances from the entire history of Western necessary. This course may be counted for either music and reflect on the many interpretive decisions made by singers, instrumentalists, and conductors. We will study historical sources and write critical THE CURRICULUM 107 appraisals of performances. Readings will range Composition—Chester Biscardi, Paul Kerekes, from historical writers such as Leopold Mozart, C. P. Patrick Muchmore, John Yannelli E. Bach, Tosi, Muffat, North, Frescobaldi, and Quantz Guitar (acoustic), Banjo, and Mandolin—William to contemporary writers such as Taruskin, Anderson Harnoncourt, and Haynes. This course may be Guitar (jazz/blues)—Glenn Alexander counted as either humanities or creative arts credit. Bass (jazz/blues)—Bill Moring This course may also be taken as a semester-long Harpsichord and Fortepiano—Carsten Schmidt component. Piano—Chester Biscardi, Martin Goldray, Paul Kerekes, Bari Mort, Carsten Schmidt Iraqi Maqam Ensemble Piano (jazz)—Billy Lester Organ—Martin Goldray Hamid Al-Saadi Voice—Hilda Harris, Wayne Sanders, Thomas Young Open, Seminar—Year Flute—Roberta Michel Inscribed by UNESCO on the Representative List of Oboe—James Smith the Intangible Cultural Heritage of Humanity, the Clarinet—TBA maqam is the classical vocal tradition of Iraq and Saxophone—John Isley one of the most refined of the many maqam Bassoon—James Jeter traditions found throughout the Arab and Muslim Trumpet—Jon Owens world. In Iraq, the term maqam refers to highly Trombone—Jen Baker structured, semi-improvised compositions that take Tuba—Andrew Bove years of disciplined study under a master to learn Percussion—Matt Wilson (drum set) fully. Often rhythmically free and meditative, they Percussion—Ian Antonio (mallet) are sung to classical Arabic and colloquial Iraqi Harp—Mia Theodoratus poetry and are followed by lighthearted, rhythmic Violin—TBA songs known as pestaat. In this course, students will Viola—Daniel Panner learn to sing and play melodic phrases of the Iraqi Violoncello—James Wilson maqam. The class serves as a introduction to the Contrabass—Mark Helias maqam system, vocabulary, and intonation for students wishing to familiarize themselves with The director of the music program will arrange all Arab and Middle Eastern music. The class will be instrumental study with the affiliate artist faculty, taught by vocalist Hamid Al-Saadi, currently the who teach off ampus.c In all cases, individual world’s foremost practitioner of the maqam and the instruction involves consultation with members of only living master who knows the entire tradition. Al- the faculty and the director of the music program. Saadi will be assisted in each class by an Arab Instructors for instruments not listed above will also instrumentalist and, in each session, he will teach be arranged. singers and instrumentalists to sing/play melodies of the Iraqi maqam. Vocal students will learn to sing Lessons and Auditions the lyrics, which are drawn from the vast body of Beginning lessons are offered only in voice and Arabic poetry—although knowledge of the Arabic piano. A limited number of beginning acoustic guitar language is not required. Each session ends with the lessons are offered based on prior musical students learning a pesteh, or lighthearted rhythmic experience. All other instrumentalists are expected piece, during which students will learn to sing and during their audition to demonstrate a level of tap the rhythms. At the end of each semester, there proficiency on their instruments. In general, the will be a performance. No previous experience in music faculty encourages students to prepare two Arabic music or language is required for this class. excerpts from two contrasting works that This course may be counted as a creative arts credit demonstrate the student’s musical background and (two-credits per term). This course may also be technical ability. Auditions for all instruments and taken as a yearlong component. voice, which are held at the beginning of the first week of classes, are for placement purposes only.

Components Vocal Auditions, Placement, and Juries The voice faculty encourages students to prepare Individual Instruction two contrasting works that demonstrate the Arranged by audition with the following members of student’s musical background and innate vocal the music faculty and affiliate artists: skills. Vocal auditions enable the faculty to place the singer in the class most appropriate for his/her 108 Music current level of vocal production. Students will be Theory and Composition Program placed in either an individual voice lesson (two half- hour lessons per week) or in a studio class. There are Theory I, Theory II, and Advanced Theory—including four different studio classes, as well as the seminar their historical studies corollaries—make up a Self-Discovery Through Singing. Voice juries at the required theory sequence that must be followed by end of the year evaluate each student’s progress. all music students unless they prove their proficiency in a given area. Entry level will be Piano Auditions and Placement determined by a diagnostic exam, which will be The piano faculty encourages students to prepare administered immediately after the Music two contrasting works that demonstrate the Orientation Meeting that takes place during the first student’s musical background and keyboard day of registration. technique. Piano auditions enable the faculty to place the student with the appropriate teacher in either an individual piano lesson or in the Keyboard Theory I: Materials of Music Lab, given the student's current level of preparation. Paul Kerekes, Bari Mort Component Acoustic and Jazz Guitar Auditions and Placement In this introductory course, we will study elements of The guitar faculty encourages students to prepare music such as pitch, rhythm, intensity, and timbre. two contrasting works that demonstrate the We will see how they combine in various musical student’s musical background, guitar technique, structures and how those structures communicate. and, for jazz and blues, improvisational ability. Guitar Studies will include notation and ear training, as well auditions enable the faculty to place the guitarist as theoretical exercises, rudimentary analyses, and with the appropriate teacher in either an individual the study of repertoire from various eras of Western guitar lesson or in Guitar Class. music. Hearing and Singing is taken concurrently with this course. This course is a prerequisite to the Composition Lessons Theory II: Basic Tonal Theory and Composition and The student who is interested in individual Advanced Theory sequence. This course will meet instruction in composition must demonstrate an twice each week (two 90-minute sessions). appropriate background. Guitar Class Theory II: Basic Tonal Theory and William Anderson, Glenn Alexander Composition Component Paul Kerekes, Patrick Muchmore This course is for beginning acoustic or electric Component guitar students. Faculty recommendation required. As a skill-building course in the language of tonal music, this course covers diatonic harmony and voice leading, elementary counterpoint, and simple Keyboard Lab forms. Students will develop an understanding Bari Mort through part writing, analysis, composition, and Component aural skills. The materials of this course are This course is designed to accommodate beginning prerequisite to any Advanced Theory course. Survey of piano students, who take the Keyboard Lab as the Western Music is required for all students taking core of their Music Third. This instruction takes place Theory II who have not had a similar history course. in a group setting with eight keyboard stations and one master station. Students will be introduced to At least one of the following Advanced Theory elementary keyboard technique and simple piano courses is required after Theory II: pieces. Placement arranged by the piano faculty. NOTE: With Advanced Theory, students are required Studio Class to take either a yearlong seminar or two semester- long seminars in music history, which include: Jazz Hilda Harris, Wayne Sanders, Thomas Young History, Cross-Cultural Listening (fall), The Modern Component String Quartet: Evolutions and Styles (fall), The Studio Class is a beginning course in basic vocal Ecomusicology: Music, Activism, and Climate Change technique. Each student's vocal needs are met (spring), The Philosophy of Music (spring), and The within the structure and content of the class. Modern Concerto: Evolutions and Styles (spring). Placement audition required. THE CURRICULUM 109 Advanced Theory: Advanced Tonal by Jazz Colloquium. This course introduces students Theory and Analysis to the techniques of arranging and orchestration for two-horn, three-horn, and four-horn jazz ensembles. Carsten Schmidt Students will study the classic repertoire of small- to Component medium-size jazz groups and create small ensemble This course will focus on the analysis of tonal music, arrangements in various styles. Materials for study with a particular emphasis on chromatic harmony. will be drawn from throughout the history of jazz and Our goal will be to quickly develop a basic contemporary/commercial arranging practices. understanding and skill in this area and then refine Prerequisites: ability to read music and an them in the analysis of complete movements and understanding of fundamental jazz harmony, chord works. Our repertoire will range from Bach to construction, and song structure. Brahms, and we will try to incorporate music that class participants might be studying in their lessons or ensembles. Prerequisite: successful completion of Advanced Theory: Orchestration the required theory sequence or an equivalent and Score Study background. Patrick Muchmore Component Advanced Theory: Jazz Theory and Although this course will be important for Harmony composers, it is predicated on the conviction that learning more about the capabilities of Glenn Alexander instruments—both individually and in Component combination—is, for anyonem invaluable to the This course will study the building blocks and appreciation of music. Of course, a composer needs concepts of jazz theory, harmony, and rhythm. This to learn the timbral palettes of various instruments, will include the study of the standard modes and as well as how to write idiomatically for them; but scales, as well as the use of melodic and harmonic performers, theorists, and historians benefit minor scales and their respective modals systems. It enormously, as well. They learn why some musical will include the study and application of diminished choices were necessary but also why some choices and augmented scales and their role in harmonic are especially clever or even astonishing. The first progression, particularly the diminished chord as a semester will focus on basic characteristics and parental structure. An in-depth study will be given to some extended techniques of the primary orchestral harmony and harmonic progression through analysis instruments and will include considerations and and memorization of triads, extensions, and examples for orchestral and chamber literature. The alterations, as well as substitute chords, second semester will add a few more advanced and/ reharmonization, and back cycling. We will look at or less-standard instruments—such as the harp, polytonality and the superposition of various hybrid guitar, and synthesizer—but will primarily focus on chords over different bass tones and other harmonic extensive score study with an eye toward varied structures. We will study and apply all of the above approaches to orchestration. Examples will include to their characteristic and stylistic genres, including works from the Baroque era all the way to the bebop, modal, free, and progressive jazz. The study of present day. All students will compose small rhythm, which is possibly the single most important excerpts for solo instruments and chamber groups, aspect of jazz, will be a primary focus, as well. We as each instrument is introduced. For composers, the will also use composition as a way to absorb and first-semester project will be an arrangement of part truly understand the concepts discussed. of an assigned piano piece for full orchestra; the Prerequisite: Theory II: Basic Tonal Theory and final project will be a relatively brief original Composition composition for a large chamber group or full orchestra. Non-composition students will have the Jazz Arranging and Orchestration option to either do those projects or substitute John Isley relatively brief papers that analyze the orchestration Component in pieces chosen from a list provided by the In this course, students will focus on the basics of instructor. arranging and orchestrating for small- to medium- size jazz ensembles. Offered in partnership with the Jazz Colloquium ensemble, students will write for the instrumentation of the ensemble and will have the opportunity to hear their arrangements performed 110 Music Advanced Theory: 20th-Century a focus on new approaches to writing that Theoretical Approaches: Post- composers devised from the late 19th century to present times. We will examine in detail significant Tonal and Rock Music works by a wide variety of major 20th- and 21st- Patrick Muchmore century composers, beginning with the first inklings Component of modernism in Debussy, Wagner, and Schoenberg; This course will be an examination of various stopping by a myriad of resulting genres such as theoretical approaches to music of the 20th neoclassicism in Stravinsky and minimalism with century—including post-tonal, serial, textural, Steve Reich; and finishing off withery v recent minimalist, and pop/rock music. Our primary text compositions by established and emerging will be Joseph Straus’s Introduction to Post-Tonal composers from across the globe. Since this class Theory, but we will also explore other relevant focuses heavily on compositional techniques texts—including scores and recordings of the works through the act of composing, it is expected that themselves. This course will include study of the students have, or will develop, a fluency in notation, music of Schoenberg, Webern, Pink Floyd, Ligeti, preferably with Sibelius or Finale. The class will Bartók, Reich, Radiohead, Nine Inch Nails, Corigliano, culminate in a reading session of your final orkw by and Del Tredici, among others. Open to students who live performers. Prerequisite: Theory I: Materials of have successfully completed Theory II: Basic Tonal Music or its equivalent. Theory and Composition. Music Technology Courses: Studio for Hearing and Singing Electronic Music and Experimental Jacob Rhodebeck Sound Component This class focuses on developing fluency with the rudiments of music and is the required aural Introduction to Electronic Music corollary to Theory I: Materials of Music. As students and Music Technology begin to explore the fundamental concepts of John Yannelli written theory—reading notes on the staff, Component interpreting rhythm—Hearing and Singing works to The Sarah Lawrence Electronic Music Studio is a translate those sights into sounds. The use of state-of-the art facility dedicated to the instruction solfège helps in this process, as ear, mind, and voice and development of electronic music composition. begin to understand the relationship between the The studio contains the latest in digital audio pitches of the scale. Rhythm drills help solidify a hardware and software for synthesis, recording, and sense of rhythm and a familiarity with rhythm signal processing, along with a full complement of patterns. In-class chorale singing supports this vintage analog synthesizers and tape machines. process. All incoming students will take a diagnostic Beginning students will start with an introduction to test to determine placement. This class fulfills het the equipment, basic acoustics and principles of performance component of the music program for studio recording, signal processing, and a historical those beginning students who are not ready to overview of the medium. Once students have participate in other ensembles. acquired a certain level of proficiency with the equipment and material—usually by the second 20th-Century Compositional semester—the focus will be on preparing Techniques compositions that will be heard in concerts of electronic music, student composers’ concerts, Paul Kerekes music workshops, and open concerts. Permission of Component the instructor is required. Since the turn of the 20th century, composers have been exploring new avenues for creating and organizing their music beyond a traditional tonal Recording, Sequencing, and construct. As we will discover, some composers Mastering Electronic Music relate to the past by extending those techniques into John Yannelli a new realm while others firmly attempt to establish Component procedures that disregard the history of This course will focus on creating electronic music compositional methods that precede them. This primarily using software-based digital audio course is a workshop in the art of composition, with workstations. Materials covered will include MIDI, THE CURRICULUM 111 ProTools, Digital Performer, Logic, Reason, Ableton The Modern String Quartet: Live, MaxMsp, Traction, and elements of Sibelius and Evolutions and Styles Finale (as connected to media scoring). Class assignments will focus on composing individual Patrick Muchmore works and/or creating music and designing sound Component—Fall for various media such as film, dance, and This course will begin with the origins of the string interactive performance art. Students in this course quartet form in the Classical and Romantic eras and may also choose to evolve collaborative projects will then explore the many -isms of the 20th and 21st with students from those other areas. Projects will centuries as they manifested themselves in that be presented in class for discussion and critique. format. The course will function as both a history Permission of the instructor is required. course—introducing the biographies of many composers, as well as the evolution of the most important stylistic trends of the modern and Studio Composition and Music contemporary eras—and as a music literature Technology course—acquainting the student with seminal John Yannelli string quartets and unsung classics of the genre. In Component addition to the usual common-practice suspects, Students work on individual projects involving students will be introduced to the lives and works of aspects of music technology, including but not Béla Bartók, Dmitri Shostakovich, Gloria Coates, limited to works for electro-acoustic instruments Anton Webern, Ruth Crawford-Seeger, Sofia (live and/or prerecorded), works involving Gubaidulina, Per Nørgård, Ben Johnston, Joan Tower, interactive performance media, laptop ensembles, Philip Glass, and others. The evolution of many styles Disklavier, and improvised or through-composed will be explored, including spectralism, serialism, works. Projects will be presented in class for microtonalism, eclecticism, minimalism, and discussion and critique. This component is open to brutalism. advanced students who have successfully completed Studio for Electronic Music and Experimental Sound The Modern Concerto: Evolutions and are at or beyond the Advanced Theory level. Class and Styles size is limited. Permission of the instructor is required. Patrick Muchmore Component—Spring This course will begin with the origins of the Music History Classes concerto form in the Baroque, Classical, and Romantic eras and will then explore the many -isms Survey of Western Music of the 20th and 21st centuries as they manifested Chester Biscardi themselves in that format. The course will function Component as both a history course—introducing the This course is a chronological survey of Western biographies of many composers, as well as the music from the Middle Ages to the present. We will evolution of the most important stylistic trends of explore the cyclical nature of music that mirrors the modern and contemporary eras—and as a music philosophical and theoretical ideas established in literature course to acquaint the student with Ancient Greece and how that cycle most notably seminal concertos and unsung classics of the genre. reappears every 300 years: the Ars nova of the 14th In addition to the usual common-practice suspects, century, Le nuove musiche of the 17th century, and students will be introduced to the lives and works of the New Music of the 20th century and beyond. The Amy Beach, Dmitri Shostakovich, Unsuk Chin, Tan course involves reading, listening, and class Dun, John Corigliano, Sofia Gubaidulina, Alban Berg, discussions that focus on significant compositions Giya Kancheli, Ellen Taaffe Zwilich, Philip Glass, and of the Western musical tradition, the evolution of others. The evolution of many styles will be explored, form, questions of aesthetics, and historical including spectralism, serialism, microtonalism, perspective. There will be occasional quizzes during eclecticism, minimalism, and brutalism. the fall term; short written summary papers or class presentations are required in the spring. This Jazz History component is required for all students taking Theory Glenn Alexander II: Basic Tonal Theory and Composition and is also Component open to students who have completed the theory Jazz music of all styles and periods will be listened sequence. to, analyzed, and discussed. Emphasis will be placed 112 Music on instrumental styles and performance techniques Performance Ensembles and Classes that have evolved in the performance of jazz. Skills in listening to and enjoying some of the finer points of All performance courses listed below are open to all the music will be enhanced by the study of elements members of the Sarah Lawrence community with such as form, phrasing, instrumentation, permission of the instructor. instrumental technique, and style. Special emphasis will be placed on the development of modern jazz Ensemble Auditions and its relationship to older styles. Some topics: Jelly Auditions for all ensembles will take place at the Roll Morton, King Oliver, Louis Armstrong, roots and beginning of the first eekw of classes. development of the Big Band sound, Fletcher Henderson, Count Basie, Duke Ellington, lineage of Chamber Choir pianists, horn players, evolution of the rhythm Christine Free section, Art Tatum, Bud Powell, Bill Evans, Thelonius Component Monk, Miles Davis, John Coltrane, Charlie Parker, be- Early madrigals and motets and contemporary works bop, cool jazz, jazz of the ’60s and ’70s, fusion and especially suited to a small number of voices will jazz rock, jazz of the ’80s, and modern trends. The form the body of this group’s repertoire. The crossover of jazz into other styles of modern music, ensemble will perform winter and spring concerts. such as rock and R&B, will be discussed, as will the Chamber Choir meets twice a week. Audition influence that modern concert music and world required. music has had on jazz styles. This is a two-semester class; however, it will be possible to enter in the Jazz Studies include the following ensembles and second semester. This is one of the music history classes: component courses required for all Advanced Theory students. The Blues Ensemble Glenn Alexander Philosophy of Music Component Martin Goldray This performance ensemble is geared toward Component—Spring learning and performing various traditional, as well See full course description under Lecture and as hybrid, styles of blues music. The blues, like jazz, Seminars. is a purely American art form. Students will learn and investigate Delta Blues—performing songs by Cross-Cultural Listening Robert Johnson, Charlie Patton, Skip James, and others—as well as Texas Country Blues, by Niko Higgins originators such as Blind Lemon Jefferson, and Component—Fall Chicago Blues, beginning with Big Bill Broonzy and See full course description under Lecture and moving up through Howlin’ Wolf and Buddy Guy. Seminars. Students will also learn songs and stylings by Muddy Waters, Albert King, and B. B. King and learn how Ecomusicology: Music, Activism they influenced modern blues men, such as Johnny and Climate Change Winter and Stevie Ray Vaughn, and pioneer rockers Niko Higgins such as Jeff Beck, Eric Clapton, Jimmy Page, and Jimi Component—Spring Hendrix. Audition required. See full course description under Lecture and Seminars. Jazz Colloquium Glenn Alexander The Art of Interpretation Component Martin Goldray This ensemble will meet weekly to rehearse and Component—Fall perform a wide variety of modern jazz music and See full course description under Lecture and other related styles. Repertoire in the past has Seminars. included works by composers Thelonius Monk, Duke Ellington, Miles Davis, and Herbie Hancock, as well as some rock, Motown, and blues. All instruments are welcome. Audition required. THE CURRICULUM 113 Jazz Performance and Jazz Saxophone Ensemble Improvisation Workshop John Isley Glenn Alexander Component Component Saxophone ensembles provide exposure to a wide This class is intended for all instrumentalists and variety of chamber ensemble literature for the will provide a “hands-on” study of topics relating to saxophone, as well as an opportunity for students to the performance of jazz music. The class will meet develop musical interaction skills in a small group/ as an ensemble, but the focus will not be on chamber ensemble setting. In this course, students rehearsing repertoire and giving concerts. Instead, will focus on small ensemble repertoire for the students will focus on improving jazz playing by saxophone, exploring the history of contemporary applying the topic at hand directly to saxophone pieces starting with the saxophone bands instruments—and immediate feedback on the of John Phillips Sousa up to and through the current performance will be given. The workshop day, performing works by Duke Ellington, Count environment will allow students to experiment with Basie, Gil Evans, Lenny Pickett, 29th Street new techniques as they develop their sound. Topics Saxophone Quartet, Itchy Fingers, the Hollywood include jazz chord/scale theory; extensions of Saxophone Quartet, and others. With enough traditional tonal harmony; altered chords; modes; participants, the ensemble may also perform scales; improvising on chord changes; analyzing a Supersax style (5 saxophones and rhythm section) chord progression or tune; analysis of form; arrangements. There will be at least one public performance and style study, including swing, Latin, performance of the saxophone ensemble in each jazz-rock, and ballade styles; and ensemble semester, with other opportunities as they arise. technique. The format can be adapted to varying instrumentation and levels of proficiency. Placement Vocal Studies include the following courses: audition required. Jazz Vocal Seminar Jazz Vocal Ensemble Thomas Young Glenn Alexander, Bill Moring Component Component This course is an exploration of the relationship of No longer do vocalists need to share valuable time melody, harmony, rhythm, text, and style and how with those wanting to focus primarily on those elements can be combined and manipulated to instrumental jazz and vice versa. This ensemble will create meaning and beauty. A significant level of be dedicated to providing a performance-oriented vocal development will be expected and required. Audition required. environment for the aspiring jazz vocalist. We will mostly concentrate on picking material from the standard jazz repertoire. Vocalists will get an So This Is Opera? opportunity to work on arrangements, Wayne Sanders interpretation, delivery, phrasing, and intonation in a Component realistic situation with a live rhythm section and This course is an introduction to opera through an soloists. Vocalists will learn how to work with, give opera workshop experience that explores combining direction to, and get what they need from the drama and music to create a story. The course is rhythm section. It will provide an environment for open to students in the performing arts (music, vocalists to learn to hear forms and changes and dance, and theatre), as well as to the College also work on vocal improvisation if they so choose. community at large. All levels are welcome. Weekly This will not only give students an opportunity to class attendance is mandatory. Audition required. work on singing solo or lead vocals but to work with other vocalists in singing backup or harmony vocals for and with each other. This will also serve as a Seminar in Vocal Performance great opportunity for instrumentalists to learn the Thomas Young true art of accompanying the jazz vocalist, which Component will prove to be a valuable experience in preparing Voice students will gain performance experience by for a career as a professional musician. Audition singing repertoire selected in cooperation with the required. studio instructors. Students will become acquainted with a broader vocal literature perspective through singing in several languages and exploring several historical music periods. Interpretation, diction, and 114 Music stage deportment will be stressed. During the course Indian music. Indian percussionists, vocalists, of their studies and with permission of their melodic instrumentalists, and dancers use solkattu instructor, all Music Thirds in voice are required to to communicate with each other in order to take Seminar in Vocal Performance for two understand the rhythmic logic of Indian music. In semesters. this ensemble, students will develop individualized rhythmic precision and physical confidence, as well World Music ensembles and courses include the as group solidarity, through the practiced following: coordination of reciting patterns of syllables while clapping an independent rhythmic cycle. Using the Iraqi Maqam Ensemble voice and hands, students will internalize rhythmic relationships through physical embodiment by Hamid Al-Saadi moving to progressively more complex rhythmic Component—Year patterns and rhythmic cycles. Students with no See full course description under Lecture and musical background and musicians specializing in Seminars. any instrument will benefit rf om the ensemble—all are welcome. No prior experience in music is African Classics of the Post- necessary. Colonial Era Andrew Algire West African Percussion Ensemble Component—Fall Faso Foli From highlife and jújù in Nigeria, to soukous and Andrew Algire, Niko Higgins makossa in Congo and Cameroon, to the sounds of Component—Spring Manding music in Guinea and “Swinging Addis” in Faso Foli is the name of our West African Ethiopia, the decades following World War II saw an performance ensemble. Faso Foli is a Malinke phrase explosion of musical creativity that blossomed that translates loosely as “playing to my father's across sub-Saharan Africa. Syncretic styles merging home.” In this class, we will develop the ability to African aesthetics with European, Caribbean, and play expressive melodies and intricate polyrhythms American influences and instruments resulted in in a group context, as we recreate the celebrated vibrant new musical genres that harken back to musical legacy of the West African Mande Empire. traditional African sources while exploring bold and These traditions have been kept alive and vital original musical forms. As European powers formally through creative interpretation and innovation in withdrew from their former colonies, newly inspired Africa, the United States, and other parts of the African musicians took advantage of broadened world. Correspondingly, our repertoire will reflect a artistic resources and created vital, contemporary wide range of expressive practices both ancient in musical expressions. This performance course will origin and dynamic in contemporary performance. explore a wide range of African musical styles that The instruments we play—balafons, the dun dun emerged in the second half of the 20th century. We drums, and djembe hand drums—were constructed will undertake a broad musical history, considering for the College in 2006, handcrafted by master prominent groups and individual musicians during builders in Guinea. Relevant instrumental techniques this time period, and perform tightly structured will be taught in the class, and no previous arrangements of some of their most effective and experience with African musical practice is influential pieces. There will be some opportunities assumed. Any interested student may join. for genre-appropriate improvisation and soloing. A wide range of instruments will be welcome, including strings, horns, guitars, keyboards, drums, Other classes and ensembles: and various other percussion instruments. Basic facility on one's musical instrument is expected, but Baroque Ensemble prior experience with African musical aesthetics is Carsten Schmidt neither assumed nor required. Component—Spring This performance ensemble focuses on music from Solkattu Ensemble roughly 1600 to 1750 and is open to both instrumentalists and singers. Using modern Niko Higgins instruments, we will explore the rich and diverse Component—Fall musical world of the Baroque. Regular coachings will Solkattu is the practice of spoken rhythmic syllables be supported by sessions exploring a variety of that constitute the rhythmic basis of many forms of THE CURRICULUM 115 performance practice issues, such as Conducting ornamentation, notational conventions, continuo Martin Goldray playing, and editions. Audition required. Component The first semester will cover the basic techniques of Bluegrass Performance Ensemble conducting, score-reading and analysis, William Anderson interpretation, period styles, instrumental Component—Spring techniques, orchestration from a conductor’s point Bluegrass music is a 20th-century amalgam of of view, and a comparison of conducting styles. The popular and traditional music styles, emphasizing repertory will range from Baroque to new music. The vocal performance and instrumental improvisation, second semester will focus on leading rehearsals that coalesced in the 1940s in the American with live players. Southeast. Through performance, this ensemble will highlight many of the influences and traditions that Guitar Ensemble bluegrass comprises, including ballads, breakdowns, William Anderson “brother duets,” gospel quartets, Irish-style medleys, Component “modal” instrumentals, “old-time” country, popular This class offers informal performance opportunities song, and rhythm and blues, among many possible on a weekly basis as a way of exploring guitar solo, others. The ensemble should include fiddle, 5-string duo, and ensemble repertoire. The course will seek to banjo, steel-string acoustic guitar, mandolin, improve sight-reading abilities and foster a thorough resophonic guitar (Dobro®), upright (double) bass. knowledge of the guitar literature. Recommended Though experienced players will have plenty of for students interested in classical guitar. Faculty opportunities to improvise, participants need not recommendation required. have played bluegrass before.

Chamber Music Senior Recital Component—Spring Faculty TBA This component offers students the opportunity to Component share the results of their sustained work in Various chamber groups—from quartets or quintets performance study with the larger College to violin and piano duos—are formed each year, community. During the semester of their recital, depending on the number and variety of qualified students will receive additional coaching by their instrumentalists who apply. There are weekly principal teachers. Audition required. coaching sessions. At the end of the semester, groups will have an opportunity to perform in a chamber music concert. Required Concert Attendance/Music Tuesdays Component Chamber Music Improvisation The music faculty wants students to have access to John Yannelli a variety of musical experiences; therefore, all Music Component Thirds are required to attend all Music Tuesday events This is an experimental performing ensemble that and three music department-sponsored concerts on explores a variety of musical styles and techniques, campus per semester, including concerts (the including free improvisation, improvisational number varies from semester to semester) conducting, and various other chance-based presented by music faculty and outside methods. The ensemble is open to all instruments professionals that are part of the Concert Series. (acoustic and electric), voice, electronic Music Tuesdays consist of various programs, synthesizers, and laptop computers. Students must including student/faculty town meetings, concert be able to demonstrate a level of proficiency on their presentations, guest artists’ lectures and chosen instrument. Composer-performers, dancers, performances, master classes, and collaborations and actors are also welcome. Performance with other departments and performing-arts opportunities will include: concerts; collaboration programs. Meetings, which take place in Reisinger with other programs such as dance, theatre, film, Concert Hall on selected Tuesdays from 1:30-3:00 and performance art; and community outreach. Open p.m., are open to the community. The schedule will be to a limited number of students. Audition required. announced each semester. 116 Philosophy Master Classes and Workshops PHILOSOPHY Master Class At Sarah Lawrence College, the study of philosophy retains a centrality, helping students synthesize Music Faculty their educational experience with the discipline’s Component many connections to other humanities and to social Master Class is a series of concerts, instrumental science. Through conference work, students also and vocal seminars, and lecture demonstrations find numerous ways to connect the study of pertaining to music history, world music, philosophy with their interests in the arts and improvisation, jazz, composition, and music natural sciences. Stressing the great tradition of technology. Master classes take place on classical and contemporary philosophy, the College Wednesdays from 12:30-1:30 p.m. in either Reisinger offers three types of philosophy courses: those Concert Hall or Marshall Field House Room 1. They are organized around thematic topics, such as open to the College community. Philosophy of Science, Aesthetics, and Philosophy and Literature; those organized historically, such as Music Workshops and Open Moral Philosophy, Political Philosophy, and 20th- Concerts Century Philosophy; and those that study the Bari Mort “systems” of philosophers such as Kant, Nietzsche, Component and Wittgenstein. Music workshops present an opportunity for Philosophy faculty use the latest technology in students to perform music that they have been their teaching, including Web boards for posting studying in an informal, supportive environment. In course material and promoting discussion. Yearlong this class, participants will present a prepared piece courses make extensive textual work possible, and receive constructive feedback from the enabling students to establish in-depth relationships instructor and other students. Along with the with the thought of the great philosophers and to specifics of each performance, class discussion may “do philosophy” to some degree—particularly include general performance issues such as dealing valuable to students preparing for graduate work in with anxiety, stage presence, and other related philosophy. Conference work often consists of topics. Each term will consist of three workshops, students thinking through and writing on single culminating at the end of each semester in an Open philosophic and literary works, ranging from Greek Concert that is a more formal recital. The entire tragedy, comedy, or epic to Plato, Aristotle, Aquinas, College community is welcome and encouraged to Machiavelli, Descartes, Shakespeare, Hobbes, Locke, participate. Rousseau, Hume, Kant, Hegel, Marx, Nietzsche, or Heidegger. Other courses of interest are listed below. Full descriptions of the courses may be found under the First-Year Studies: The Origins of appropriate disciplines. Philosophy Roy Ben-Shai Lift Up Your Hearts: Art and Architecture of the Open, FYS—Year Baroque—Europe and Its Colonies, What is being? What is time? What is knowledge? 1550–1700 (p. 10), Joseph C. Forte Art History What is the best kind of government, and what is the Theories of the Creative Process (p. 137), Charlotte L. happiest kind of life? Should we fear death? More Doyle Psychology than 2,500 years ago in Ancient Greece, a tradition of The Psychological Impact of Art (p. 135), Alison Jane asking this sort of questions developed under the Martingano Psychology name “philosophy” (Greek for “love of wisdom”). In Intermediate Spanish II: Juventud, divino this course, we will read the earliest surviving texts tesoro... (p. 155), Isabel de Sena Spanish of the philosophical tradition—from the first Advanced Interdisciplinary Studio II (p. 171), John philosopher, Thales, to the great Greek philosophers O’Connor Visual and Studio Arts Plato and Aristotle—as well as interpretations and Media Burn: Moving Image Installation in critiques of them by thinkers of the 19th and 20th Practice (p. 175), Jenny Perlin Visual and Studio centuries. Throughout the course, we will discuss Arts the relations (and the tensions) between philosophy and science, religion, art, and politics. Students will have an individual conference every other week and group conference on alternating weeks. In the group THE CURRICULUM 117 conferences, we will discuss the nature of academic the institutions and practices that structured the work in general and practice research, reading, process of modernization are worth defending or writing, and editing skills. reforming? Which should be rejected outright? Or should we reject them all and embrace a new, Introduction to Social Theory: postmodern social epoch? In addressing these issues, we will grapple both with classical texts and Philosophical Tools for Critical with the contemporary implications of different Social Analysis approaches to social analysis. David Peritz Open, Lecture—Year Existentialism How can social order be explained in modern societies that are too large, fluid, and omplec x to rely Roy Ben-Shai on tradition or self-conscious political regulation Open, Lecture—Spring alone? Social theory is a distinctly modern tradition Does life have a purpose, a meaning? What does it of discourse centered on answering this question mean “to be”? What does it mean to be human? and focused on a series of theorists and texts whose What does it mean to be a woman (or to be a man)? works gave rise to the modern social sciences, What does it mean to be black (or to be white)? overlap with some of the most influential modern What makes us into who we are? What defines each philosophy, and provide powerful tools for critical of us? What distinguishes each of us? And what, if understanding of contemporary social life. The anything, is common to all of us? These and other theorists whose works form the backbone of this questions are raised by existentialist philosophy and course explore the sources of social order in literature, mostly through interrogation of real-life structures, many of which work “behind the backs” experiences, situations, and “fundamental of the awareness and intentions of those whose emotions” such as anxiety, boredom, loneliness, and interaction they integrate and regulate. The market shame. In the first half of this class, ew will get economy, the legal and administrative state, the firm acquainted with the thought and writing of two of and the professions, highly differentiated political the most influential figures on existentialist and civil cultures, racial and gender order, a variety philosophy: Jean-Paul Sartre (France, 1905-1980) and of disciplinary techniques inscribed in diverse Martin Heidegger (Germany, 1889-1976). In the mundane practices—one by one, these theorists second half, with what we have learned from Sartre labored to unmask the often-hidden sources of and Heidegger as our background, we will analyze social order in the modern world. Moreover, this texts by other authors associated with understanding of social order has evolved side-by- existentialism, including Hannah Arendt, Simone de side with evaluations that run the gamut, from those Beauvoir, Albert Camus, Frantz Fanon, Franz Kafka, that view Western modernity as achieving the apex Maurice Merleau-Ponty, and Simone Weil. of human freedom and individuality to those that see it as insinuating a uniquely thorough and Aesthetics and the Philosophy of invidious system of domination. This class will Art introduce many of the foundational texts and Scott Shushan authors in social theory, the social sciences, and Open, Seminar—Fall social philosophy—including Thomas Hobbes, Adam Art seems to be an inextricable part of human life. Smith, Alexis de Tocqueville, John Stuart Mill, Karl The question that guides this class is seemingly Marx, Emile Durkheim, Max Weber, Sigmund Freud, simple: What is art? As will soon become clear, Michel Foucault, and Jürgen Habermas. In this way, answering this question proves to be exceedingly we will also cover various schools of social difficult. For example: Are trees works of art? Is an explanation, including: Marxism, structuralism, iPhone a work of art? Is a movie a work of art? Are poststructuralism, and (in group conferences) all movies works of art? Is a doodle in your notebook critical race theory, postcolonial studies, and a work of art? It may turn out that no definitive feminism. The thread connecting these disparate answer to our guiding question is possible; however, authors and approaches will be the issue of the without demarcating between what counts as art worth or legitimacy of Western modernity, the and what doesn’t, art refers to everything and, historical process that produced capitalism, consequently, to nothing special. This class representative democracy, religious pluralism, the investigates how works of art become meaningful. modern sciences, ethical individualism, secularism, The narrative of the class traces the different fascism, communism, new forms of racism and frameworks that philosophers over the last 2,500 sexism, and many “new social movements.” Which of 118 Philosophy years have used to pursue this question. We will be defined, and what apacitiesc qualify us as follow a historical narrative, learning how these knowers. We will begin by reading the first historical frameworks have responded both to each other and queries into how we arrive at knowledge (Plato and to the artworks of their time. We will read texts by Aristotle), then jump to consider modern attempts to Plato, Aristotle, Kant, Hegel, Danto, Benjamin, and secure foundations for knowledge (René Descartes), others, as well as analyze artworks from Sophocles, and then turn to investigate the asymmetry between William Shakespeare, Édouard Manet, Pablo Picasso, knowledge of our own minds and knowledge of Andy Warhol, John Cage, Kara Walker, Jordan Peele, others’ minds (Gilbert Ryle and Stanley Cavell). and many others. At the end of the semester, our aim Finally, reading critical race theory (W. E. B Du Bois will be to articulate what is so special about art and and Charles Mills) and feminist philosophy (Sally why we care about it. Haslanger and Lorraine Code), we will consider how our identities and relative privileges or Virtue and the Good Life: Ethics in underprivileges influence what we are capable of knowing. This will give us the opportunity to reflect Classical Chinese Philosophy on the vital relationship between knowledge and Ellen Neskar justice. Open, Seminar—Spring This course centers on the close, detailed reading of a small number of foundational texts in classical “I Think, Therefore I Am:” The Confucianism and Taoism. Our focus will be to Meditations of René Descartes explore how these texts might fit “virtue ethics,” Roy Ben-Shai which emphasizes moral character and the pursuit Intermediate, Seminar—Fall of a worthwhile life. Some attention will be paid to This course will consist of a close reading of René other forms of ethics, including those that stress Descartes’ masterwork: Meditations on First either the adherence to duties and obligations or the Philosophy (1641). One of the founding texts of social consequences of ethical action. Our primary modern philosophy, this book introduces the core goal, however, will be to examine the ways in which problems that continue to preoccupy all subsequent classical Chinese philosphers regarded personal philosophy: the psychophysical problem (i.e., What is virtues and “good character” as both a prerequisite the relationship between consciousness and the to and an explanation of appropriate action and its body, and how does the one “act upon” the other?); consequences. Among the more specific opicst that the problem of knowledge (i.e., Is knowledge we will explore are: ideal traits of virtue, the links grounded in reason or in the senses? And is there between moral values and different understandings any way to conclusively distinguish between dream, of human nature, the pyschological structures of or fantasy, and reality?); the problem of other minds virtue, practices leading to the cultivation of virtue, (How can I know that another consciousness exists, the roles of family and friendship in developing if I can only ever access it through my moral values, and what constitutes a good life. consciousness?). Conference work may focus on Descartes, on one of the above-mentioned problems, Theories of Knowledge or on a closely related philosopher of the student’s choice. While specific background knowledge is not Scott Shushan expected, a previous course or conference in Open, Seminar—Spring philosophy is required. What does it mean to know something? Every day, we presume to know things: We presume to know that the Earth circles around the Sun, that human Greek Tragedy: Electras beings are born with unalienable rights, that you are Michael Davis upset with me for answering honestly about Intermediate, Seminar—Fall whether I like your new shirt, that I am currently There is only one story about which tragedies exist reading a course description for a philosophy class, by all three of the great Greek tragic poets—the that Radiohead is my favorite band, or that this is my murder of Clytemnestra to avenge her murder of right hand. Beyond specific claims, when ew act we Agamemnon. We will read all three rely on knowledge about the world; for instance, plays—Aeschylus’s Libation Bearers, Sophocles’s when we sit in a chair, we demonstrate knowledge Electra and Euripides’s Electra—with special that a chair is a thing to be sat upon. This class attention to the relation between Electra and Orestes investigates what these varied instances of as co-conspirators in the plot against Clytemnestra. knowledge share in common, how knowledge should Each play is concerned with the question of justice in THE CURRICULUM 119 its relation to a political life. Insofar as its principle Other courses of interest are listed below. Full is justice, political life points toward universality. descriptions of the courses may be found under the Insofar as its existence depends on excluding some appropriate disciplines. from its borders, it must assert its particularity. Political life involves treating fellow citizens Lift Up Your Hearts: Art and Architecture of the according to universal principles because they are Baroque—Europe and Its Colonies, like family. We want our polis to be good, but we 1550–1700 (p. 10), Joseph C. Forte Art History want it to be good because it is ours. In Greek Virtue and the Good Life: Ethics in Classical Chinese tragedy this problematic togetherness of the good Philosophy (p. 17), Ellen Neskar Asian Studies and one’s own is repeatedly represented as the Introduction to Economic Theory and Policy (p. 36), tension between the polis and the family—which, in Jamee K. Moudud Economics turn, is expressed as a tension between male and Legal Foundations to Business History: Corporate female principles. All of these issues are present in Governance, Democracy, and Economic all three plays but in quite different ways. We will Transformation (p. 38), Jamee K. Moudud read them with a view to understanding the Economics importance of those differences. Introduction to Development Studies: The Political Ecology of Development (p. 63), Joshua Muldavin Geography Ancient Philosophy (Aristotle) Beginning Greek (p. 66), Emily Katz Anhalt Greek Michael Davis (Ancient) Intermediate, Seminar—Spring Democracy and Emotions in Postwar This course will be devoted to a careful reading of a Germany (p. 78), Philipp Nielsen History small number of texts from a major figure in ancient First-Year Studies: The Disreputable 16th philosophy. The goal of the course is twofold. It is Century (p. 69), Philip Swoboda History first designed ot acquaint students with one of the Comparative Literary Studies and Its Others (p. 94), seminal figures of our tradition in more than a Bella Brodzki Literature superficial way. Doing that will force us to slow our Eight American Poets: Whitman to Ashbery (p. 98), usual pace of reading, to read almost painfully Neil Arditi Literature carefully, with a view to understanding the thinker First-Year Studies: The Perils of Passion: Ancient as he wrote and as he understood himself and not as Greek History for Today’s Troubled a stage in an historical development. The second Times (p. 89), Emily Katz Anhalt Literature part of the goal of the course is to introduce and Odyssey/Hamlet/Ulysses (p. 96), William encourage this kind of careful reading. The text for Shullenberger Literature spring 2020 will be Aristotle’s Rhetoric. We do not Romanticism and Its Consequences in English- ordinarily claim knowledge of what is most Language Poetry (p. 92), Neil Arditi Literature important to us—the good, the beautiful, and just The Poetry of Earth: Imagination and Environment in things. Still, our practical lives require that we are English Renaissance Poetry (p. 94), William not content merely to withhold judgment about Shullenberger Literature them. Accordingly—about the good, the beautiful Discrete Mathematics: Gateway to Higher and the just—we are generally persuaded and seek Mathematics (p. 102), Daniel King Mathematics to persuade. We convince and are convinced without Strange Universes: An Introduction to Non-Euclidean simply teaching or learning. If this sort of thinking is Geometry (p. 101), Philip Ording Mathematics intrinsic to incomplete beings, to human beings, The Philosophy of Music (p. 105), Martin Goldray when rhetoric claims be an art or a science of Music persuasion, this would seem to amount to a claim to 20th-Century Physics Through Three Pivotal be an art or a science of the human. We will read Papers (p. 121), Merideth Frey Physics Aristotle’s Rhetoric in light of this tacit claim and Democracy, Diversity, and (In)equality (p. 126), with a view to the question: What does it mean that David Peritz Politics human beings are put together in such a way that Introduction to Social Theory: Philosophical Tools for we both must and can be moved by persuasion? Critical Social Analysis (p. 124), David Peritz Politics First-Year Studies: The Buddhist Philosophy of Emptiness (p. 143), T. Griffith Foulk Religion Readings in the Hebrew Bible: The Wisdom Tradition (p. 145), Cameron C. Afzal Religion 120 Physics The Buddhist Tradition in East Asia (p. 144), Exploring the Universe: Astronomy T. Griffith Foulk Religion and Cosmology The Buddhist Tradition in India, Tibet, and Southeast Asia (p. 144), T. Griffith Foulk Religion Alejandro Satz The Emergence of Christianity (p. 145), Cameron C. Open, Lecture—Year Afzal Religion This yearlong course will provide a broad Drawing From Nature (p. 176), Gary Burnley Visual introduction to our current knowledge of the and Studio Arts universe without requiring previous background in Media Burn: Moving Image Installation in college-level science and math. Topics covered will Practice (p. 175), Jenny Perlin Visual and Studio include the history of our understanding of the Arts universe; our current knowledge of the solar system, The Ideas of Photography (p. 176), Joel Sternfeld including the Sun, planets, moons, asteroids, and Visual and Studio Arts comets; the nature, life cycle, and properties of The New Narrative Photography (p. 176), Joel stars, as well as neutron stars and black holes; the Sternfeld Visual and Studio Arts possibility of extraterrestrial life; our knowledge of Experiments With Truth: Nonfiction Writing rF om the distant galaxies; and the description of the universe Edges (p. 186), Vijay Seshadri Writing as a whole, its development from the Big Bang, and First-Year Studies: Ecopoetry: Poetry in Relation to the unresolved questions concerning its origin and the Living World (p. 179), Marie Howe Writing ultimate fate. Classes will incorporate discussions Nonfiction orkW shop: To Tell the Truth (p. 183), and some problem-solving activities. The course will Suzanne Gardinier Writing also include occasional evening meetings for Our World, Other Worlds (p. 180), Myra Goldberg telescope observations. Writing Poetry: What Holds the Unsayable (p. 186), Marie Classical Mechanics (Calculus- Howe Writing Based General Physics) Merideth Frey Open, Seminar—Fall PHYSICS Calculus-based general physics is a standard course at most institutions; as such, this course will prepare Physics—the study of matter and energy, time and you for more advanced work in physical science, space, and their interactions and engineering, or the health fields. (Alternatively, the interconnections—is often regarded as the most algebra-based Introduction to Mechanics will also fundamental of the natural sciences. An suffice for pre-medical students.) The course will understanding of physics is essential for an cover introductory classical mechanics, including understanding of many aspects of chemistry, which kinematics, dynamics, momentum, energy, and in turn provides a foundation for understanding a gravity. Emphasis will be placed on scientific skills, variety of biological processes. Physics also plays an including: problem solving, development of physical important role in most branches of engineering; and intuition, scientific ommunicc ation, use of the field of astronomy, essentially, is physics applied technology, and development and execution of on the largest of scales. experiments. The best way to develop scientific skills As science has progressed over the last century is to practice the scientific process. We will focus on or so, the boundaries between the different learning physics through discovering, testing, scientific disciplines have become blurred, and new analyzing, and applying fundamental physics interdisciplinary fields—such as chemical physics, concepts in an interactive classroom, as well as in biophysics, and engineering physics—have arisen. weekly laboratory meetings. Permission of the For these reasons, and because of the excellent instructor is required. Students are encouraged to training in critical thinking and problem solving have completed one semester of calculus as a provided by the study of physics, this subject prerequisite. It is strongly recommended that represents an indispensable gateway to the other students who have not completed a second semester natural sciences and a valuable component of a of calculus enroll in Calculus II, as well. Calculus II, or liberal-arts education. equivalent, is highly recommended in order to take Electromagnetism and Light (Calculus-Based General Physics) in the spring. THE CURRICULUM 121 Introduction to Mechanics dramatically to being driven at particular (General Physics Without frequencies (like the opera singer hitting just the right note to break a wine glass). These systems are Calculus) very common in everyday life, as well as inside many Alejandro Satz important technological devices. Each unit will Open, Seminar—Fall explore a particular application of resonance (e.g., This course covers introductory classical mechanics, building an AM radio receiver for electronic including dynamics, kinematics, momentum, energy, resonance and using our benchtop NMR system to and gravity. Students considering careers in explore quantum mechanical resonance). Although architecture or the health sciences, as well as those some class time will be spent going over the relevant interested in physics for physics’ sake, should take theory, the majority of the class time will be spent either this course or Classical Mechanics. Emphasis designing and doing experiments using advanced lab will be placed on scientific skills, including problem equipment, analyzing data using Jupyter (iPython) solving, development of physical intuition, scientific notebooks, and reporting the results using LaTeX. For communication, use of technology, and development conference work, students are encouraged to and execution of experiments. Seminars will develop their own experimental question, design incorporate discussion, exploratory activities, and their own experiment to answer that question, do problem-solving activities. In addition, the class will the experiment, analyze the data, and present their meet weekly to conduct laboratory work. A findings at the Science and Mathematics Poster background in calculus is not required. This course, Session. or equivalent, is required to take Introduction to Electromagnetism, Light, and Modern Physics (General Physics Without Calculus) in the spring. Electromagnetism and Light (Calculus-Based General Physics) 20th-Century Physics Through Merideth Frey Intermediate, Seminar—Spring Three Pivotal Papers This is the follow-on course to Classical Mechanics, Merideth Frey where we will be covering waves, geometric and Intermediate, Seminar—Fall wave optics, electrostatics, magnetostatics, and This course takes an in-depth look at three pivotal electrodynamics. We will use the exploration of the papers in 20th-century physics pertaining to special particle and wave properties of light to bookend our relativity and fundamental interpretations of discussions and ultimately finish our xplore ation of quantum mechanics that transformed and defined classical physics with the hints of its our way of thinking in modern science. In this incompleteness. Seminars and weekly laboratory seminar-style class, we will deeply read, dissect, and meetings will incorporate technology-based, discuss these three primary sources. In the process, exploratory, and problem-solving activities. Students we will together derive the predictions of special are encouraged to have completed Classical relativity; debate the various interpretations of Mechanics, or equivalent, along with Calculus II, or quantum mechanics revolving around the famous equivalent. Einstein, Podolsky, Rosen (EPR) paradox; and explore experiments meant to test our fundamental understanding of quantum mechanics. Prerequisites: Introduction to Electromagnetism, one year of general physics and one year of calculus. Light, and Modern Physics (General Physics Without Resonance and Its Applications Calculus) Merideth Frey Alejandro Satz Intermediate, Seminar—Spring Intermediate, Seminar—Spring This is a lab-based course designed to teach This course covers electromagnetism and optics, as students critical advanced laboratory skills while well as selected topics in modern physics. Emphasis exploring the fascinating phenomenon of resonance will be placed on scientific skills, including problem and its many applications. The course will be broken solving, development of physical intuition, scientific into three main units: mechanical resonators, communication, use of technology, and development electronic resonators, and quantum mechanical and execution of experiments. Seminars will resonators. Resonators are physical systems that incorporate discussion, exploratory, and problem- undergo periodic motion and react quite solving activities. In addition, the class will meet 122 Political Economy weekly to conduct laboratory work. Calculus is not a Intermediate Macroeconomics: Main Street, Wall requirement for this course. Students should have Street, and Policies (p. 38), An Li Economics had at least one semester of physics (mechanics). Intermediate Microeconomics: Conflicts, Coordination, and Institutions (p. 37), An Li Other courses of interest are listed below. Full Economics descriptions of the courses may be found under the Introduction to Economic Theory and Policy (p. 36), appropriate disciplines. Jamee K. Moudud Economics Legal Foundations to Business History: Corporate Spectroscopy and Chemical Structure Governance, Democracy, and Economic Determination (p. 23), Colin D. Abernethy Transformation (p. 38), Jamee K. Moudud Chemistry Economics Computer Organization (p. 28), Michael Siff Introduction to Property: Cultural and Environmental Computer Science Dimensions (p. 40), Charles Zerner Quantum Computing (p. 28), James Marshall Environmental Studies Computer Science Food, Agriculture, Environment, and An Introduction to Statistical Methods and Development (p. 61), Joshua Muldavin Analysis (p. 100), Daniel King Mathematics Geography Calculus I: The Study of Motion and Change (p. 101), Introduction to Development Studies: The Political Philip Ording Mathematics Ecology of Development (p. 63), Joshua Calculus II: Further Study of Motion and Muldavin Geography Change (p. 102), Philip Ording Mathematics The Geography of Contemporary China: A Political First-Year Studies: The Way Things Go (p. 169), John Ecology of Reform, Global Integration, and Rise O’Connor Visual and Studio Arts to Superpower (p. 62), Joshua Muldavin First-Year Studies: Ecopoetry: Poetry in Relation to Geography the Living World (p. 179), Marie Howe Writing Class, Race, Gender, Work: Readings in US Labor History (p. 77), Priscilla Murolo History Liberation: Contemporary Latin America (p. 77), POLITICAL ECONOMY Margarita Fajardo History Making Latin America (p. 72), Margarita Fajardo Classes from disciplines such as economics, History geography, history, LGBT studies, politics, psychology, The Problem of Empire: A History of Latin public policy, sociology, and writing comprise the America (p. 75), Margarita Fajardo History classes available within this cross-disciplinary path. First-Year Studies: The Perils of Passion: Ancient Greek History for Today’s Troubled Courses offered in related disciplines this year are Times (p. 89), Emily Katz Anhalt Literature listed below. Full descriptions of the courses may be An Introduction to Statistical Methods and found under the appropriate disciplines. Analysis (p. 100), Daniel King Mathematics The Philosophy of Music (p. 105), Martin Goldray How Things Talk (p. 5), Aurora Donzelli Anthropology Music Language and Capitalism (p. 7), Aurora Donzelli Introduction to Social Theory: Philosophical Tools for Anthropology Critical Social Analysis (p. 117), David Peritz Life, Death, and Violence in (Post)Colonial France Philosophy and Algeria (p. 6), Robert R. Desjarlais Chaos or Calm: The 2020 Elections (p. 125), Samuel Anthropology Abrams Politics The Anthropology of Images (p. 5), Robert R. Democracy, Diversity, and (In)equality (p. 126), Desjarlais Anthropology David Peritz Politics Economics of Environmental Justice: People, Place, International Politics and Ethnic Conflict (p. 125), and Power (p. 37), An Li Economics Yekaterina Oziashvili Politics Economics of the Environment and Natural Introduction to International Relations (p. 124), Resources: Market Failures, Capitalism, and Yekaterina Oziashvili Politics Solutions (p. 36), An Li Economics Moonshots in Contemporary American Feminist Economics (p. 37), Kim Christensen Politics (p. 124), Shayna Strom Politics Economics Changing Places: Sociospatial Dimensions of History of Economic Thought and Economic History: Urbanization (p. 151), Shahnaz Rouse Sociology Economic and Legal Foundations (p. 36), Travel and Tourism: Economies of Pleasure, Profit, Jamee K. Moudud Economics and Power (p. 153), Shahnaz Rouse Sociology THE CURRICULUM 123

The Ideas of Photography (p. 176), Joel Sternfeld fortuitous circumstances of birth or position.” What Visual and Studio Arts does it mean to be American today? How about in The New Narrative Photography (p. 176), Joel the past? What are the beliefs and ideas that many Sternfeld Visual and Studio Arts Americans hold about the United States and First-Year Studies: Ecopoetry: Poetry in Relation to themselves? How have these ideas changed over the Living World (p. 179), Marie Howe Writing time? How do these ideas manifest themselves in Nonfiction orkW shop: To Tell the Truth (p. 183), historical and contemporary politics and discourse? Suzanne Gardinier Writing We will explore those questions together and do so with the tools and concepts that come from political science. We will look at basic American politics, the problems of collective decision making, the purposes POLITICS of government, the formal institutions of national government—Congress, the Supreme Court, the The study of politics at Sarah Lawrence College Presidency, and the bureaucracy—congressional encompasses past and present thinking, political and presidential elections, the role of the media, and and interdisciplinary influences, and theoretical and the mobilization of citizens through political parties hands-on learning. The goal: a deep understanding of and interest groups. Our examination of those the political forces that shape society. How is power institutions and ideas will be interdisciplinary in structured and exercised? What can be nature and will present a number of the major accomplished through well-ordered institutions? general theories underlying the study of American And how do conditions that produce freedom government. This will give us the knowledge of the compare with those that contribute to tyranny? structure and operation of the institutions of the Questions such as these serve as springboards for American political system and how their roles stimulating inquiry. intersect, compete, and complement each other. Rather than limit ourselves to the main Additionally, we will become familiar with the actors subdisciplines of political science, we create and the institutions within our federal government seminars around today’s issues—such as feminism, and with those institutions affecting our federal international justice, immigration, and poverty—and government. From this investigation, students will analyze those issues through the lens of past gain an awareness of the role of citizens, interest philosophies and events. We don’t stop at artificial groups, political parties, and politicians within the boundaries. Our courses often draw from other American political system. Moreover, students will disciplines or texts, especially when looking at better understand the role of politics and strategy in complex situations. Because we see an important the operation and impact of the government. Taken connection between political thought and political collectively, we will develop the ability to synthesize action, we encourage students to participate in the material from the course to develop our own service learning. This engagement helps them apply opinions regarding the proper role of government in and augment their studies and leads many toward our society. We will be talking about politically politically active roles in the United States and charged and often divisive issues, including abortion, around the world. immigration, race relations, and homosexuality. This FYS seminar will be an open, nonpartisan forum for First-Year Studies: American discussion and debate. As such, the course will be Ideologies and American Dreams driven by data, not dogma. We will use a variety of Samuel Abrams approaches based in logic and evidence to find Open, FYS—Year answers to various puzzles about American policy In 1931, historian James T. Adams wrote about the and will treat this material as social scientists—not idea of the “American Dream” in his volume, Epic of ideologues. Comfort with numbers and statistics is America, and argued that the American dream is one expected. This course will have weekly conferences where individuals and communities “...dream of a for the first six eeks;w biweekly conferences land in which life should be better and richer and thereafter. fuller for every man, with opportunity for each according to his ability or achievement...It is not a dream of motor cars and high wages merely, but a dream of social order in which each man and each woman shall be able to attain to the fullest stature of which they are innately capable and be recognized by others for what they are, regardless of the 124 Politics Introduction to Social Theory: postmodern social epoch? In addressing these, we Philosophical Tools for Critical will grapple both with classical texts and with the contemporary implications of different approaches Social Analysis to social analysis. David Peritz Open, Lecture—Year How can social order be explained in modern Introduction to International societies that are too large, fluid, and omplec x to rely Relations on tradition or self-conscious political regulation Yekaterina Oziashvili alone? Social theory is a distinctly modern tradition Open, Lecture—Fall of discourse centered on answering this question War made the state, and the state made war. and focused on a series of theorists and texts whose —Charles Tilly works gave rise to the modern social sciences, overlap with some of the most influential modern This course will take a critical approach to the study philosophy, and provide powerful tools for critical of international relations. First, we will study the understanding of contemporary social life. The main theories (e.g., realism, liberalism, theorists whose works form the backbone of this constructivism, Marxism), concepts (e.g., the state, course explore the sources of social order in anarchy, sovereignty, balance of power, dependency, structures, many of which work “behind the backs” hegemony, world order), and levels of analysis of the awareness and intentions of those whose (systemic, state, organizational, and individual) in interaction they integrate and regulate. The market the field. Then ew will apply those various economy, the legal and administrative state, the firm theoretical approaches and levels of analysis to and the professions, highly differentiated political current international conflicts and crises in order to and civil cultures, racial and gender order, a variety better understand the many ongoing debates about of disciplinary techniques inscribed in diverse war and peace, humanitarian interventions, mundane practices—one by one, these theorists international institutions, and the international labored to unmask the often-hidden sources of political economy. Some of the questions that we social order in the modern world. Moreover, this will explore include: Why do states go to war? Why do understanding of social order has evolved side-by- some humanitarian interventions succeed while side with evaluations that run the gamut, from those others fail or simply never materialize? Why are that view Western modernity as achieving the apex some regions and states rich while others are poor, of human freedom and individuality to those that and how do these inequalities shape international see it as insinuating a uniquely thorough and relations? How do international organizations help to invidious system of domination. This class will reinforce or moderate existing interstate political introduce many of the foundational texts and and economic inequalities? authors in social theory, the social sciences, and social philosophy—including Thomas Hobbes, Adam Moonshots in Contemporary Smith, Alexis de Tocqueville, John Stuart Mill, Karl American Politics Marx, Emile Durkheim, Max Weber, Sigmund Freud, Michel Foucault, and Jürgen Habermas. In this way, Shayna Strom we will also cover various schools of social Open, Seminar—Fall explanation, including: Marxism, structuralism, While recently it may feel like American government poststructuralism, and (in group conferences) never accomplishes much at all, particularly at the critical race theory, postcolonial studies, and federal level, sweeping change does happen—either feminism. The thread connecting these disparate seemingly at once or over a period of time. This authors and approaches will be the issue of the course will look at a range of circumstances when worth or legitimacy of Western modernity, the advocates across the political spectrum have pushed historical process that produced capitalism, ambitious agendas over the last few decades and at representative democracy, religious pluralism, the various levels of government. We will attempt to modern sciences, ethical individualism, secularism, draw some conclusions about the factors that might fascism, communism, new forms of racism and make ambitious agendas succeed, including sexism, and many “new social movements.” Which of querying whether those factors are distinct in the institutions and practices that structured the meaningful ways from the factors that make less process of modernization are worth defending or ambitious agendas succeed. The course will also reforming? Which should be rejected outright? Or attempt to explore differences and similarities in the should we reject them all and embrace a new, ways that conservatives and liberals have THE CURRICULUM 125 approached pursuing such agendas. The class will United States and examine why so many Americans begin with an overview of some theoretical feel disillusioned about the economic and political literature about agenda-setting in politics and the scene. Many believe that the country is headed in the role of advocacy work and will continue with applied wrong direction. They see an economy that is not case studies. While this course is open, prior improving, a social and political world that is deeply background in American politics and history is divided and full of anger, and endless fighting about preferable. numerous topics, including gun control, immigration, the environment, and global engagement. These African Politics concerns will all have a potent impact on the outcome of the 2020 elections. This course will Elke Zuern examine these current sentiments as the backdrop Open, Seminar—Fall for understanding the 2020 electoral cycle. We will This course offers a comprehensive introduction to focus on what political science can tell us about African politics, challenging common assumptions electoral politics, with the electoral process itself and misunderstandings of the continent. We will being one of the most fundamental aspects of investigate persistent political institutions, as well American democracy: allowing citizens to choose as mechanisms of political and economic change. their representatives, from local county boards to Key questions include: How are postcolonial African the occupant of the White House. Accordingly, we states distinctive from other postcolonial states? will examine present and past research on numerous How do the politics of patronage, prevalent in many questions relating to elections, such as: Who votes African states and societies, affect processes of and participates, how, and why? How does income, political and economic change such as religion, race, and geographic region play into democratization and the implementation of electoral behavior? What about institutions—such structural adjustment and poverty alleviation as electoral rules, various debates and the Electoral programs? What role have external influences, from College? What about the role of mass media and colonialism to current forms of European and North social media platforms? What about the art of American influence, played on the continent? What persuasion; that is, do campaigns matter or is it impact has China’s rising role (alongside other Asian simply the economy? These are a sampling the states) had? What choices and trade-offs have puzzles that we will tackle. And while the course will Africa’s postcolonial leaders and citizens faced? This certainly spend a considerable amount of time course will not investigate the experiences of all looking at the presidency, we will also focus on African states but will address these questions by congressional races and local races, as well. drawing upon the experiences of a few countries: Ghana, Nigeria, Kenya, and South Africa. The course will begin with an in-depth analysis of the colonial International Politics and Ethnic experience, decolonization, and the legacy of Conflict colonialism. We will then move on to address key Yekaterina Oziashvili questions regarding postcolonial governance, Open, Seminar—Spring concerning: the nature of the postcolonial African Writing about the democratic transitions and ethnic state, the role of violence in governance, the nature conflicts that ollof wed the breakup of the Soviet of popular demands for democracy, and popular Union in 1991, Holocaust survivor and writer Elie rebellion and elite resistance. The final section will Wiesel pessimistically declared in his 2002 novel, The build upon the first two by investigating approaches Judges, that “the malevolent ghosts of hatred are to, and ideals of, economic development—including resurgent with a fury and a boldness that are as structural reforms, aid, trade, debt, private astounding as they are nauseating: ethnic conflicts, investment, and social programs—to unearth the religious riots, anti-Semitic incidents here, there, contradictions and promises of those processes. and everywhere. What is wrong with these morally degenerate people that they abuse their freedom, so Chaos or Calm: The 2020 Elections recently won?” Although written from a perspective of moral outrage, one would be hard-pressed to find Samuel Abrams a quote that more accurately illuminates both the Open, Seminar—Spring sense of severity associated with ethnic conflict, In the midst of a seemingly polarized and anxious broadly defined, and the absolute lack of American polity, the 2020 election cycle will be a understanding of its causes. Indeed, the end of the referendum on both President Trump and the 116th Cold War was seen by many conservative and liberal Congress. This course will attempt to contextualize thinkers as “the end of history” and the beginning of the current state of social and political affairs in the 126 Politics a steady march toward global political stability and Finally, we will evaluate different pathways to peace. Yet, despite an explosion in the number of pursuing truth, justice, and reconciliation in the electoral democracies, the frequency and intensity aftermath of gross violations of human rights. Cases of bloody and brutal scenes of ethnic violence include the International Criminal Tribunal and seemed to belie all expectations. The proliferation of domestic courts established in Rwanda after the such violence over the last 30 years has thus caused genocide, South Africa’s pioneering Truth and many scholars and policymakers to more critically Reconciliation Commission, and the ongoing work of examine their assumptions about the sources and the International Criminal Court. potential solutions to the issue of ethnic conflict as an international problem. Despite significant Democracy, Diversity, and evidence to the contrary, commentators like Wiesel—and even many politicians—still frequently (In)equality attribute the sources of such strife to the existence David Peritz of “morally degenerate people,” ethnic diversity, or Sophomore and above, Seminar—Year the history of animosity between various ethnic Modern democracy, as defended by its most communities. Looking at the problem from a more progressive advocates, promised to resurrect an holistic perspective—which engages with the ancient form of popular self-rule on a newly economic, cultural, and political motivations inclusive and egalitarian foundation. At certain underlying ethnic conflict—this course will points in recent history, it has seemed credible to challenge these commonly-held assumptions about believe that the “moral arc of the universe bends the cause of ethnic violence and explore some toward justice”—i.e., that the long-term trend of possible solutions for preventing further conflicts or modern political life moved in the direction of resolving existing ones. We will devote special democratic polities that treated all members with attention to the relationship/s between equal concern and respect; realized genuine fair democratization and ethnic conflict, because equality of opportunity for all; limited social democracy promotion is one of the key foreign policy inequality so as to render it compatible with political goals embraced (at least rhetorically) by many equality; and repaired historical injustices like those democratic states, including the United States. Some rooted in race, gender, sexuality, and class. Since the of the questions that this course will address beginning of the current century, however, this claim include: What are the main sources behind political has appeared far less credible. Instead, modern conflicts deemed “ethnic”? What is the oler of the politics appears increasingly less equal, inclusive, international community in managing ethnic just, and democratic. On the one hand, democratic conflicts? What is the effect of democratization on societies have become increasingly unequal as a territorial integrity and political conflict between result of globalization, changes in the nature and ethnically divided communities? What constitutional remuneration of work, new policies and technology, designs, state structures, and electoral systems are and new political conditions. On the other, the most compatible with ethnically divided societies? hitherto dominant (understood variously in racial, What is the role of humanitarian interventions, and ethnic, national, gender, and/or religious terms) are they successful? appear increasingly unwilling to surrender their privileges in the name of social justice, diversity, or inclusion—even while democratic societies are Intervention and Justice increasingly diverse as a result of immigration and Elke Zuern demographic shifts and their citizens less willing to Open, Seminar—Spring “forget” their many differences to melt into a What are the appropriate responses to widespread dominant national culture. These two trends are far human-rights violations in another country? Are from unrelated: The failure to preserve fair there cases in which military humanitarian distributions of income, wealth and opportunity intervention is warranted? If so, who should contribute to the rise of nationalism and reactionary intervene? What else can be done short of military populism, while the fracturing of common civic intervention? Once the violence has subsided, what identities undermines the resources of commonality actions should the international community take to and solidarity needed to resist the concentration of support peace and justice? This course will explore wealth and power in ever-smaller elite circles. These critical ethical and legal questions. We will consider developments raise some basic questions: Is 21st- key cases of both intervention and nonintervention century democracy increasingly an instrument of over the last three decades, from Rwanda to Libya, unjust politics, impotent in the face of the social and consider a range of responses to those actions. changes that globalization and galloping THE CURRICULUM 127 technological change produce, and perhaps simply real-world case with a reputable NGO, analyzing doomed? Or might it be possible to reform human-rights situations, and authoring advocacy democracy to render it compatible with conditions reports. of deep diversity while also making it capable of securing the requisite degrees of political and social Rising Autocrats and Democracy equality? This course will explore these questions in a number of ways. We will study exemplary historical in Decline? statements of the ideal of democracy, drawing on Elke Zuern traditional works in political philosophy. We will also Intermediate, Seminar—Fall draw on contemporary work in sociology, At the end of the Cold War, many Western writers anthropology, cultural and legal studies, and political wrote triumphantly about the global victory of science to examine the nature of social and cultural democracy and capitalism. Today, we are bombarded diversity—including religion, class, gender, with news stories of autocrats, both at home and sexuality, and race. We will draw on a similar range abroad, undermining democracy. We hear that of disciplines to seek to comprehend the causes and democracy is dying while markets and inequality consequence of the widening inequality reach new heights. This seminar will address the characteristic of almost all economically advanced connections between liberal democracy and market democratic societies. Finally, we will explore works capitalism as they have reinforced and contradicted that bring these themes together by examining one another. We will explore the role of social current scholars efforts to (re-)articulate the ideal movements in bringing about change and the and practice of democracy in light of increased alternative ideals they have offered. To understand diversity and inequality. the challenges that individual states face, we begin with the wave of democratization from the late 1980s and consider the ways in which economic Scholars at Risk: The Politics and conditions contributed to pressure for change and Practice of Human-Rights economic policy limited possible outcomes. We will Advocacy also consider Latin American and African state Janet Reilly experiments with social democracy and Sophomore and above, Seminar—Fall redistributing wealth. The class will study the The course focuses on the history and politics of the interaction between democracy and the market to human-rights regime and humanitarianism, human- focus on the last decade in the United States and rights advocacy (theory and praxis), advocacy globally and to ask: Is democracy in decline? We will networks, information politics, advocacy strategies investigate how populist leaders and extreme and techniques, and human-rights monitoring and income inequality threaten ideals of democracy. We reporting. Every day, throughout the world, scholars, also explore the role of recent popular uprisings, teachers, and students are threatened, imprisoned, from Occupy and the Arab Spring in 2011 to Algeria and killed as part of targeted attacks on higher and Sudan in 2019. The class will consider the role of education individuals and institutions. Scholars At social media in propelling protest and the rise of Risk (SAR) is a nongovernmental organization (NGO) surveillance capitalism in tracking our movements. that monitors violations of academic freedom As we evaluate the present, we will consider a range worldwide, provides scholarships for threatened of popular responses to these challenges, as well as scholars, and advocates for the release of alternative frameworks for the future. imprisoned scholars. In partnership with SAR, students in this course will select the case of an Other courses of interest are listed below. Full imprisoned scholar, research the case, and create an descriptions of the courses may be found under the advocacy campaign for the scholar's release. This appropriate disciplines. may take the form of an online social media campaign (creating Twitter, Facebook, and How Things Talk (p. 5), Aurora Donzelli Anthropology Instagram accounts to monitor developments Language and Capitalism (p. 7), Aurora Donzelli related to the case and disseminate information), Anthropology authoring articles for campus and local media, Economics of Environmental Justice: People, Place, organizing on-campus panel and speaker events to and Power (p. 37), An Li Economics raise awareness, fundraising, creating documentary Economics of the Environment and Natural shorts or other art forms about the case, and Resources: Market Failures, Capitalism, and lobbying local, state, and federal elected officials. Solutions (p. 36), An Li Economics Students will gain practical experience working on a 128 Psychology History of Economic Thought and Economic History: Slavery: A Literary History (p. 97), William Economic and Legal Foundations (p. 36), Shullenberger Literature Jamee K. Moudud Economics An Introduction to Statistical Methods and Intermediate Macroeconomics: Main Street, Wall Analysis (p. 100), Daniel King Mathematics Street, and Policies (p. 38), An Li Economics Ancient Philosophy (Aristotle) (p. 119), Michael Davis Intermediate Microeconomics: Conflicts, Philosophy Coordination, and Institutions (p. 37), An Li Greek Tragedy: Electras (p. 118), Michael Davis Economics Philosophy Introduction to Economic Theory and Policy (p. 36), Introduction to Social Theory: Philosophical Tools for Jamee K. Moudud Economics Critical Social Analysis (p. 117), David Peritz Legal Foundations to Business History: Corporate Philosophy Governance, Democracy, and Economic International Perspectives of Psychology (p. 129), Transformation (p. 38), Jamee K. Moudud Christopher Hoffman Psychology Economics First-Year Studies: From Schools to Prisons: Introduction to Property: Cultural and Environmental Inequality and Social Policy in the United Dimensions (p. 40), Charles Zerner States (p. 141), Luisa Laura Heredia Public Policy Environmental Studies The American Welfare State (p. 142), Luisa Laura Intermediate French I (Section I): French Heredia Public Policy Identities (p. 58), Eric Leveau French The Politics of “Illegality,” Surveillance, and Food, Agriculture, Environment, and Protest (p. 142), Luisa Laura Heredia Public Development (p. 61), Joshua Muldavin Policy Geography Beginning Russian (p. 148), Melissa Frazier Russian Introduction to Development Studies: The Political Changing Places: Sociospatial Dimensions of Ecology of Development (p. 63), Joshua Urbanization (p. 151), Shahnaz Rouse Sociology Muldavin Geography Detention, Deportation, Dispossession: From The Geography of Contemporary China: A Political Incarceration to Displacement (p. 151), Ecology of Reform, Global Integration, and Rise Parthiban Muniandy Sociology to Superpower (p. 62), Joshua Muldavin Travel and Tourism: Economies of Pleasure, Profit, Geography and Power (p. 153), Shahnaz Rouse Sociology Beginning Greek (p. 66), Emily Katz Anhalt Greek The Ideas of Photography (p. 176), Joel Sternfeld (Ancient) Visual and Studio Arts Democracy and Emotions in Postwar The New Narrative Photography (p. 176), Joel Germany (p. 78), Philipp Nielsen History Sternfeld Visual and Studio Arts History and Memory on Screen: The Third Reich in First-Year Studies: Ecopoetry: Poetry in Relation to Film, From The Great Dictator to Inglorious the Living World (p. 179), Marie Howe Writing Basterds (p. 76), Philipp Nielsen History First-Year Studies: Writing and the Racial International Law (p. 70), Mark R. Shulman History Imaginary (p. 178), Rattawut Lapcharoensap Liberation: Contemporary Latin America (p. 77), Writing Margarita Fajardo History Nonfiction orkW shop: To Tell the Truth (p. 183), Making Latin America (p. 72), Margarita Fajardo Suzanne Gardinier Writing History Our World, Other Worlds (p. 180), Myra Goldberg Postwar: Europe on the Move (p. 70), Philipp Nielsen Writing History Public Stories, Private Lives: Theories and Methods of Oral History (p. 78), Mary Dillard History The Problem of Empire: A History of Latin PSYCHOLOGY America (p. 75), Margarita Fajardo History How do infants navigate their world? How do factors The Third Reich: Its History and Its Images (p. 69), as diverse as genetics, socioeconomic status, social Philipp Nielsen History networks, mindfulness practices, and access to open Advanced Italian: Fascism, World War II, and the spaces contribute to how people cope with the Resistance in 20th-Century Italian Narrative problems of living? How do technology, architecture, and Cinema (p. 83), Tristana Rorandelli Italian language, and cultural practices affect how we First-Year Studies: The Perils of Passion: Ancient think? What accounts for the global epidemic of Greek History for Today’s Troubled mental health issues? What has psychology Times (p. 89), Emily Katz Anhalt Literature contributed to understanding genocide and torture? THE CURRICULUM 129

In what ways can psychologists illuminate the with the New York University Silver School of Social mystery of the creative process in science and art? Work, allowing Sarah Lawrence undergraduates to How does morality develop? What factors determine obtain a BA, a Master of Social Work, and an MA in our political, economic, and moral decisions? What Child Development in six years. happens in mind and body as we experience emotions? These reflect just a ewf of the questions First-Year Studies: Culture in Mind discussed in our psychology courses, a sampling of Deanna Barenboim the broad range covered in the psychology Open, FYS—Year curriculum. In this FYS seminar, we will keep culture in mind as We offer courses from the domains of we explore the diversity of human behavior and biological, clinical, cognitive, community, cultural, experience across the globe. We will pay close developmental, educational, experimental, health, attention to how culture influences psychological personality, and social psychology. Our courses processes such as cognition, perception, and emphasize the interplay of theory and observation, emotion, as well as people’s sense of self and their research and analysis, understanding and relations to the social world. Through our readings applications. Our courses are also inherently and discussions on the connections between culture interdisciplinary, making connections between and mind across the life course, we will ask psychology and other fields such as biology, questions such as the following: How does an Inuit anthropology, education, linguistics, public policy, child come to learn the beliefs and values that public health, women’s studies, philosophy, and the structure adult social life on a Canadian island? Is arts. Students have a variety of choices as they the experience of grief or anger universal or distinct design their independent conference work. in different societies? Why do some people Some conference projects consist of reviewing experience cultural syndromes such as nervios or and analyzing the primary research literature on a susto and others anxiety or depression? How does topic of interest. Others make experiential learning immigration influence Latinx adolescents’ identity? central to the independent work. Opportunities open Adopting an interdisciplinary approach, our course to students include: assisting at our Early Childhood material will draw from cultural psychology, human Center, in local schools, or at clinics; planning and development, and psychological anthropology and carrying out original research in one of three will include peer-reviewed journal articles, books, psychology lab spaces on campus (the Child Study and films that address core issues in a range of Lab, the Cognition and Emotion Lab, and the Adult geographic and sociocultural contexts. Students will Experimental Psychology Lab); working with conduct a yearlong conference project related to the community organizations in Yonkers, New York; and central topics of our course. participating in environmental education at our Center for the Urban River at Beczak (CURB). Psychology is also a core component of two focused, International Perspectives of semester-long, community-based academic Psychology programs: the Intensive Semester in Yonkers and Christopher Hoffman Sarah Lawrence College’s Study Abroad Program in Open, Lecture—Fall Sub-Saharan Africa. What does psychology look like outside of the United Ideas and skills developed in class and in States? How does psychology operate across conference often play a formative role in the multiple cultures? In this course, we will attempt to intellectual and professional trajectories of students answer these questions as we explore multiple who go on to pursue these ideas in a wide range of international perspectives of psychology. First, we fields, including clinical and research psychology, will begin with an examination of the history of education, medicine, law, the arts, social work, psychology as a field. Next, we will grapple with human rights, and politics. Our alums tell us that the arguments for and against international psychology. seminar and independent conference work here Our course will explore the development of prepared them well for the challenges of both psychology in multiple parts of the world. Our graduate school and their careers. readings will focus on tracing the roots of specific The college has two psychology-related schools of psychology, such as liberation psychology graduate programs: Art of Teaching and Child and South African psychology, and examining case Development. These offer the possibility for our studies in India, Aotearoa/New Zealand, the former undergraduate students to pursue both their Soviet Union, and El Salvador. Readings may include bachelor’s and master’s degrees in five years of perspectives from theorists such as Martin-Baro study. The college also offers a dual-degree program (liberation psychology), Sunil Bhatia (decolonizing 130 Psychology psychology), Frantz Fanon (postcolonial theory and more deeply into lecture material and specific areas psychology), and Lev Vygotsky (cultural-historical of interest. Registered students will choose one psychology). Lastly, we will explore the role of group conference section to attend each week, international organizations and mental health, such based on their interests. Three group conference as the WHO and the UN. In conference work, students sections will be offered: Sleep Routine and Sleep will be encouraged to explore international Environment, Developmental Sleep Patterns and perspectives of psychology beyond the examples Sleep Disorders, and Dreams. Weekly reading discussed in class. This course is open to students assignments will include literature in sleep science, interested in psychology, mental health, developmental psychology, cognitive psychology, international relations, politics, regional studies, and neuropsychology, physiology, positive psychology, anthropology. clinical theory and research, relevant case studies, essays, and memoir. Select film and documentary Sleep and Health material will be included for class discussion. Additionally, class members will follow the topic of Meghan Jablonski sleep in popular media. All class members will be Open, Lecture—Fall asked to monitor their sleep patterns using available A key and often-overlooked aspect of recharging is sleep apps and/or observation logs. Course also one of the most obvious: getting enough sleep. requirements include a multiple-choice and short- There is nothing that negatively affects my answer midterm exam and a final essay exam. productivity and efficiency more than lack of sleep. Weekly discussion posts will be due prior to each After years of burning the candle on both ends, my week’s group conference section. During the eyes have been opened to the value of getting some semester, students will record observations of their serious shuteye. —Arianna Huffington, Sarah sleep over two 10-day assessment periods. Each Lawrence College Commencement Address, 2012 conference group will be responsible for: a literature review and brief informational summary/ Sleep is a powerful piece of the human experience presentation of their topic; developing a sleep that is often marginalized in contemporary culture. strategy based on their topic, literature review, and This lecture examines historical, developmental, initial sleep observations; a poster presentation of neuropsychological, physiological, and cultural their work at the Fall SciMath poster symposium; and perspectives on the construct of sleep and explores a final presentation of their work in class. Group the role of sleep in psychopathology, relevant conference projects will consider topics such as medical conditions, and wellness. How sleep impacts developmental sleep needs, quality of sleep and is impacted by clinical conditions will be environment, light/dark exposure, use of digital examined, along with Eastern and Western devices, and bedtime routine. Project themes may approaches to understanding sleep phases, body also include topics related to sleep, such as clocks, and sleep regulation. Historical and dreaming, memory/other cognitive functions, contemporary theories of dreaming—including cultural aspects of sleep, and/or mindfulness dream structure and the role of dreaming in memory meditation. Students interested in developmental consolidation, creative problem solving, and aspects of sleep in children may complete a weekly preparing for the future—will be considered. fieldwork placement at the Early Childhood Center. Differences in developmental sleep needs will be This lecture is a super lecture and may enroll up to 60 considered, as well as gender differences in sleep students. behaviors. The impact of sleep deprivation on cognitive function, school/work performance, mood, and social functioning will be examined, as well as “Sex Is Not a Natural Act”: Social socioeconomic barriers to adequate sleep (e.g., shift Science Explorations of Human work), pressures of a 24-hour culture, and the use of Sexuality digital devices. The course will conclude with a look at the powerful benefits of sleeping ell,w including Linwood J. Lewis evidence from electroencephalogram (EEG) and Open, Lecture—Spring neuroimaging data, as well as from an examination When is sex NOT a natural act? Every time a human of cultures with exceptionally high levels of well- engages in sexual activity. In sex, what is done by being. This class will meet for one lecture section whom, with whom, where, when, why, and with what and one group conference/seminar section per has very little to do with biology. Human sexuality week. Weekly lectures will focus on the foundations poses a significant challenge in theory. The study of of sleep. Weekly group conference sections will go its disparate elements (biological, social, and individual/psychological) is inherently an THE CURRICULUM 131 interdisciplinary undertaking: From anthropologists Virtually Yours: Relating and to zoologists, all add something to our understanding Reality in the Digital Age of sexual behaviors and meanings. In this class, we will study sexualities in social contexts across the Meghan Jablonski lifespan, from infancy to old age. Within each period, Open, Seminar—Year we will examine biological, social, and psychological This seminar will examine relating and reality in the factors that inform the experience of sexuality for digital age. In the fall semester, we will focus on individuals. We will also examine broader aspects of ways in which humans have evolved to relate to each sexuality, including sexual health and sexual abuse. other and be related to and how our innate relational Conference projects may range from empirical patterns fit (or do not fit) within theapidly r evolving research to a bibliographic research project. Service digital world. We will consider ways in which digital learning may also be supported in this class. A life is changing how people relate and ways in which background in social sciences is recommended. this may be challenging for some but beneficial orf others. We will begin with relevant historical and developmental perspectives on attachment theory, Who am I? Clinical Perspectives on human bonding, and shifting relational expectations. Psychology of the Self We will move on to consider how various realms of David Sivesind the digital world (e.g., social media, messaging, Open, Lecture—Spring dating apps, video chats, artificial intelligence, “I don’t feel like myself anymore.” “Things are virtual reality) impact our relational patterns, as well different with me.” “I think I lost myself.” “That’s just as aspects of self- and identity expression (e.g., of who I am.” “I think I found myself.” What do any of us gender, sexuality, values, beliefs, interests). We will mean when we say our ”self”? What is the self? consider the role of digital spaces in making new Multiple perspectives on this topic have emerged in connections, building friendships, falling in love, and the literature of psychology, psychotherapy, and maintaining romantic bonds, as well as bullying, beyond. Self-concept, self-esteem, self-worth, real- revenge, trolling, and potential barriers to empathy self, false-self, self-control, self-estrangement, that emerge when our gazes are fixed on screens among other terms and concepts will be considered and not on each other. We will also consider our here. And what of the loss of self, as noted by the emerging engagement with artificial intelligence above statement? What was lost? (Has something and our attachment to digital devices themselves. In been lost?) Is the person’s brain different? Is that the spring semester, we will examine how reality has where the self is? The person notes that “things” are been defined historically, clinically, and culturally; different. Perhaps that’s some change with relation how one’s sense of reality is shaped through to the environment or some new development in development; and what internal, environmental, emotion, habits, or perhaps relationships? Is “the social, and cultural factors contribute to one’s sense self” a stable concept? We will consider both clinical of reality. Can reality ever truly be objective? cases regarding perceived loss of self, as well as Building on material from the first semester, we will cases from neuroscience where some authors have examine the innate, developmental, cultural, and perceived a change in a person’s concept of “self.” social psychological factors that shape our We will consider readings that stem from a primarily perception of reality and our choice of reliable Western, individuality oriented, self perspective, as sources, including the roles of race, gender, and well as non-Western and other challenges to these ethnicity in those processes. We will consider how notions of self. While this is an open lecture course, psychological constructs and psychometric students will be expected to engage actively in measures of reality have taken those factors into discussions as part of every topic. We will consider consideration, both currently and historically. We will writings from a variety of perspectives: Heinz Kohut, next consider ways in which one’s sense of reality Donald Winnicott, Karen Horney, Martin Seligman, may be impacted by clinical conditions such as brain Joseph Ledoux, Oliver Sacks, and others. This lecture injury, psychosis, depression, trauma, and anxiety; is a super lecture and may enroll up to 60 students. altered by substances such as psychedelics; influenced by dreams; and potentially enhanced through meditation. We will then consider how the content, pace, and sheer volume of information currently cycling through social media and 24-hour news outlets may impact our perception of reality. Classes will be both discussion-based and experiential, with opportunities for observation (e.g., 132 Psychology observing children relating/engaging in play in the their lives. Students will be responsible for working SLC Early Childhood Center (ECC) free from digital with residents, staff, and family (if and when devices) and in-class activities related to weekly available) to develop personally meaningful tablet topics (e.g., comparing experiences by engaging with programs, to help residents access the programs, early logic-based digital toys such as Simon and and to write up a protocol to be shared with future Speak n’ Spell vs. digital toys that express affection caregivers and family members for continued use. such as Furby and contemporary AI). Class reading The course requires a time commitment of two will include primary- and secondary-source hours per week on site, plus 15-20 minutes of travel academic material from diverse perspectives in time, and a weekly 45-minute group conference developmental, neuropsychological, clinical, and meeting on campus. This is a 4-credit course. cultural psychology and related fields. Supplemental Registration is through permission by the instructor. material will include relevant literature, memoir, Open to students who have previously completed at TedTalks, and popular media coverage of related least one semester of, or are currently enrolled in, topics. Conference topics may include, but are not Virtually Yours: Relating and Reality in the Digital Age limited to, the role of digital spaces in forming and (or a related course). maintaining relationships; relationships formed to artificial intelligence and/or digital devices; and/or Introduction to Social Psychology developmental, neuropsychological, clinical, social, and/or cultural perspectives on/shifts in relating in Gina Philogene the digital age. Conference projects may be Open, Seminar—Year completed in the form of an APA-style literature This course introduces students to the key ideas of review, original data collection, and/or a creative social psychology. We will examine the social piece with academic justification and will include a dimensions underlying the cognitive existence of class presentation. Optional weekly fieldwork is individuals by examining some theories, available and encouraged for any interested methodologies, and key findings of social students. psychology. We will look at human relations at various levels, with a primary focus on the tension between the individual and society. For this purpose, Virtually Yours Radio we will compare different theoretical (cognitive, Meghan Jablonski interpersonal, and cultural) perspectives. During the Intermediate—Year first semester, the course will investigate the role of Virtually Yours Radio is a weekly talk show that unconscious processes in our interpretations and explores themes of relating and reality in the digital explanations of the social world, emphasizing in age. Through background research, interviews, and particular our mistakes in judgment and our original segments, students go more deeply into misperceptions of causation. The individual as a topics discussed in class and continue the social cognizer will be explored further to see how conversation beyond the classroom. Topics include we derive interpretations for our own behavior in navigating social media, finding ommunityc in digital comparison to those attributed to others’ behavior. spaces, dating through apps and IRL, and In the second semester, we will focus on the experiences across cultures and generations. This is contextualization of these different processes in a 4-credit course. Registration is through permission order to analyze the defining characteristics of by the instructor. One semester of Virtually Yours: groups and the extent to which we are, indeed, Relating and Reality in the Digital Age (or a related shaped by our groups. course) is required. Parents and Peers in Children's Virtually Yours: Wartburg Tablet Lives Program Carl Barenboim Meghan Jablonski Open, Seminar—Fall Intermediate, Fieldwork—Year In this course, we will study the psychological Using digital tablets, students will help residents in growth of the child from birth through adolescence, dementia and Alzheimer’s care create personalized focusing especially on the social lives of children. We tablet programs (e.g., including apps for relaxation, will begin by reading about some of the major connecting with meaningful music and photos), theories that have shaped our thinking concerning helping residents to connect with important children, including psychoanalytic (Freud and memories and important relationships throughout Erikson), behaviorist (Skinner), and cognitive- THE CURRICULUM 133 developmental (Piaget). And we will apply those conformity, and prejudice. Moreover, psychologists’ theories to the “real world” of children's lives, understanding of the reciprocal relationship examining the key issues of parent-child relations between brain and behavior is expanding. This and children’s friendships. Our study of parent-child course will also emphasize how our choices and relations will include the question of what makes a social experiences can physically alter the brain. “good” parent (known as “parenting styles”), as well Students will be encouraged to engage critically with as the effects of divorce, single parenting, and this research, both appreciating its rigor and stepparenting on the subsequent development of understanding its limitations. children. Our investigation of children’s friendships will include the exploration of its key functions for Environmental Psychology: An children’s psychological well-being, the difficulties for children without friends, and the power of the Exploration of Space and Place peer group to shape a child’s sense of self. Magdalena Ornstein-Sloan Conference work may include direct experience with Open, Seminar—Fall children, including fieldwork at the Early Childhood This course explores human-environment Center or other venues. interactions and the relationships among natural, social, and built environments in shaping us as individuals. We will critically explore human Mindfulness: Neuroscientific and interactions from the body, the home, and the local Psychological Perspectives to the globalized world, with a return to the Elizabeth Johnston individual experience of our physical and social Open, Seminar—Fall environments. As a survey course, we will cover Mindfulness can be described as nonjudgmental myriad topics that may include informal family attention to experiences in the present moment. For caregiving, urban/rural/suburban relationships, thousands of years, mindfulness has been cultivated gentrification, urban planning, environmental through the practice of meditation. More recently, sustainability, globalization, social justice, and developments in neuroimaging technologies have varying conceptualizations and experiences of allowed scientists to explore the brain changes that “home” based on gender, race, class, and age and for result from the pursuit of this ancient practice, people with disabilities. As a discussion-based laying the foundations of the new field of seminar, topics will ultimately be driven by student contemplative neuroscience. Study of the neurology interest. Films and a field trip will be incorporated. of mindfulness meditation provides a useful lens for study of the brain in general, because so many Public Health Psychology aspects of psychological functioning are affected by the practice. Some of the topics that we will address Magdalena Ornstein-Sloan are attention, perception, emotion and its regulation, Open, Seminar—Fall mental imaging, habit, and consciousness. This is a This course will address the intersection of public good course for those interested in scientific study health and psychology—an approach that has the of the mind. potential to positively impact health experiences and outcomes, although the disciplines are not often considered together. Because health is determined The Social Brain by the interaction of myriad complex Alison Jane Martingano factors—including biology, lifestyle, environmental Open, Seminar—Fall factors, and social and political It can be difficulto t grasp how a physical mass of conditions—multidisciplinary approaches are neurons can be responsible for our idiosyncratic needed to address our most pressing public-health thoughts, feelings, and human relationships. This problems. Community psychology is particularly mystery has generated much folk wisdom about interested in social change, activism, reducing neuroscience, some of which is in line with current oppression, and empowerment, while public health research but much of which is false. This course will focuses on assessing prevalence and incidence, as address what we know about the human brain, what well as identifying risk and protective factors and we can reasonably infer, and what we are yet to changing individual health behaviors. Our approach discover. Although far from being completely will look at health and community psychology, in understood, neuroscience has begun illuminating combination with public health, to explore various the neural networks underlying complex human perspectives and interventions related to current behaviors such as learning, decision-making, health and social problems. The two disciplines vary 134 Psychology in their approaches to interventions, with advances, with a critical review of the evidence and individualistic approaches on the one hand and controversies regarding each. Readings will include population level on the other. Students will be invited literature from psychology, public policy, medicine, to explore issues related to personal health and the arts, ethics, and the press. illness, as well as population level approaches to health promotion, in order to identify macro-level Immigration and Identity structures and individual-level barriers to achieving health equity. Topics of inquiry will be led by student Deanna Barenboim interest and will include: environmental, Open, Seminar—Spring occupational, and behavioral health; housing and This course asks how contemporary immigration displacement; aging; physical and cognitive shapes individual and collective identity across the disabilities; and food and health. life course. Adopting an interdisciplinary approach that bridges cross-cultural psychology, human development, and psychological anthropology, we Remedies to Epidemics: will ask how people’s movement across borders and Understanding Substances That boundaries transforms their senses of self, as well Can Heal or Harm as their interpersonal relations and connections to David Sivesind community. We will analyze how the experience of Open, Seminar—Fall immigration is affected by the particular From the 1990s through the early 2000s, the Joint intersections of racial, ethnic, class, gender, Commission, which accredits and certifies nearly generational, and other boundaries that immigrants 21,000 health practices, promoted in its standards cross. For example, how do undocumented youth the increased visibility of pain, once written as “Pain navigate the constraints imposed by “illegalized” is assessed in all patients.” Many health care identities, and how do they come to construct new organizations took up this recommendation, even self-perceptions? How might immigrants promoting pain as the “Fifth Vital Sign.” With respect acculturate or adapt to new environments, and how to what has been described as an opioid epidemic does the process of moving from home or living “in- since that period, many have described this effort as between” two or more places impact mental health? an example of best intentions gone awry. The Through our close readings and seminar discussions credentialing organization’s own recently published on this topic, we seek to understand how different material described it as “A good idea (make pain forms of power—implemented across realms that visible) had gone astray.” Psychoactive substance include state-sponsored surveillance and use has been part of our oral and written record with immigration enforcement, language and educational regard to medicine, ecstatic spiritualism, and policy, health and social services—shape and addiction in perhaps every culture other than the constrain immigrants’ understanding of their place Inuit of the Arctic (where such plants did not grow): in the world and their experience of exclusion and the soma drink of the HIndus, the peyote of the belonging. In our exploration of identity, we will Southwest Americas, the nepenthe of the Greeks, to attend to the ways in which immigrants are left out name a few. Recent years have seen the resurgence of national narratives, as well as the ways in which of interest, considered by some to be epidemics of people who move across borders draw on cultural recreational abuse and to others a potential to be resources to create spaces and practices of tapped for medicine: marijuana, LSC, psilocybin, connection, protection, and continuity despite the opioids...the list goes on. This course is a disruptive effects of immigration. multidisciplinary overview of addiction, with special consideration for those drugs that may both help Communities in Context: and harm and are, therefore, under great scrutiny by Community Psychology From New society. Explanations for addiction—spiritual, York City to Yonkers emotional, biological—have spanned the ages and remain controversial today. This course will explore Christopher Hoffman the study of addiction from historical roots to Open, Seminar—Spring contemporary theory. Competing theories of The master’s tools will never dismantle the master’s substance abuse/addiction will be examined, with a house. —Audre Lorde focus on the individual and with regard to cultural What roles can psychology play within multiple and societal concerns. This course presents a communities? How can psychology commit to framework for understanding models of substance challenging inequalities within communities in New use and addiction, including neuropsychological THE CURRICULUM 135

York? In this course, we will explore community relationships throughout life impact development psychology through a localized lens, focusing on and well-being. This course explores the historical communities within New York City and Yonkers. Our and cross-theoretical roots of attachment theory, readings will draw from a wide range of disciplines, follows advances and refinements in attachment including environmental psychology, critical social theory and research, and looks at attachment psychology, history, sociology, community beyond childhood through adolescence, adulthood, psychology, and literature. We will begin by and older adulthood. Readings include classical examining the history of psychology’s interactions attachment theory, as well as contemporary with marginalized communities and the influence attachment research, developmental that movements (such as the Civil Rights Movement, psychopathology, feminist critique, identity theory, Labor Movement, and community organizing around social psychology, neuropsychology, object relations, AIDS and health care) have had on the field of and psychoanalytic literature. Film and relevant case psychology. We will read the works of DuBois, studies will be included for reflection and class Kenneth and Mamie Clark, James Baldwin, Emma discussion. Students will be required to complete Goldman, Audre Lorde, Martin Duberman, and others weekly fieldwork placements in the Early Childhood to inform our discussions. Next, our course will Center (ECC). Students will work closely with explore specific asec studies within New York City classroom teachers one hour per week and will and Yonkers, including shining a critical light onto become part of the class (as advised and supervised education, policing, health care, immigration, by classroom teachers) while maintaining weekly housing, and public space. Our discussions may be observation logs relevant to seminar objectives and informed by multiple guest speakers, organizing conference work. Conference will include around social justice issues within Westchester observations from the ECC (child or child-parent County and New York City. Lastly, our course will observations). Conference work may also include critically reflect on Sarah Lawrence College as a observations from other settings where the students community and its contributions to psychology and may be completing fieldwork, such as youth/ influence within Yonkers. This course is open to adolescent programs or the Wartburg Center for students interested in how issues of inequality and Senior Living. power play out in New York City and Yonkers. Conference projects may include community-based Principles of Psychology research, archival work, and work with Community Partnerships. Former ISY students are also Elizabeth Johnston encouraged. Open, Seminar—Spring When William James published The Principles of Psychology in 1890, he described it scathingly as a Bonding to Wellbeing: How Early “loathsome, distended, tumefied, bloated, dropsical Attachment Bonds Shape Well- mass” that proved that he was an incompetent and being Throughout Life that psychology was not a science. Over 100 years Meghan Jablonski later, Principles is one of the most quoted and Open, Seminar—Spring influential psychological texts. In it, James set out Attachment theory has become a widely accepted his views on a range of subjects that continue to foundation of understanding early human capture the interest of contemporary psychologists development. Pioneered by John Bowlby, attachment and neuroscientists, such as attention, memory, the theory emphasizes the role of infant and early senses, the self, consciousness, habit, time childhood bonds with caregivers, usually parents, on perception, and emotion. We will read some of social and emotional development. As study of James’s writings in conjunction with contemporary attachment theory has advanced, interest in human texts that draw inspiration from his work and bonding throughout adolescence and adulthood has discuss them in light of current neuroscientific increased. No longer confined ot attachments studies of the brain, mind, and body. established during infancy and early childhood, understanding how important relationships shape us The Psychological Impact of Art during adolescence, adulthood, and older adulthood Alison Jane Martingano are growing areas of interest. Emerging studies of Open, Seminar—Spring attachment in neuropsychological development, That’s one of the great things about music. You can adoption, queer families, spiritual identification, sing a song to 85,000 people, and they’ll sing it back social affiliation, and parenting give us new insights for 85,000 different reasons.—Dave Grohl. into how the fulfillment or deprivation of important 136 Psychology The expressive arts bridge the gap between personal Human Legacy and collective experiences. Music, dance, literature, Gina Philogene sculpture, and other creative pursuits allow artists a Open, Seminar—Spring personal venue for intimate expression; but their Our “human legacy” is the result of a long journey. products also have influence on thousands of others. Considering our physiological, psychological, and Art evokes emotions, changes opinions, forges social changes over time, these evolutionary identities, and can be an anthem for social change. transformations point to the fundamentally social This class will explore how engagement with the arts nature of our human history. We have always had an influences who we are and how we relate to others. incessant need to articulate common systems and We will discuss the relative importance of the points of reference in order to make sense of our process of making art, versus the product itself, for world. Such common understanding of social reality personal growth and fostering social change. requires the elaboration of representations around Although often thought of as a uniquely personal which groups form. These representations are social relationship, psychologists’ understanding of how and serve the purpose of structuring our relations the arts affect social, cognitive, and affective human with one another and validating our common reality. behavior is expanding. In this class, students will be In so doing, our social reality is constructed and encouraged to engage critically with this social identities are created. Against this psychological research and appreciate the background, we will explore in this course how we, difficulties associated with quantifying the impact as humans, have been driven to develop into what of the arts. we are today. To help us understand the constructive, dynamic, and social nature of our Food Environments, Health, and evolution, we will revisit one of the more obscure Social Justice books in social psychology, The Human Legacy, Magdalena Ornstein-Sloan written by Leon Festinger—one of the most famous Open, Seminar—Spring social psychologists of the 20th century. This book With obesity and diabetes rising at alarming rates analyzes some of the crucial elements of our and a growing awareness of disparities in food evolution that have permitted the steady and access, researchers and policymakers are rethinking continuous progress in our history. Key questions the role of the environment in shaping our diets and addressed in this book are more than relevant for health. This course takes a collaborative approach to our time, including the development of technology investigating some of the key issues guiding this and its relation to religion, the implications of area of research and action. Students will critically sedentary living, the production of food, and the review literature on food environments, food access, human race’s self-destructive propensity for and health inequalities and explore how modes of warfare. food production and distribution shape patterns of food availability in cities. Students will use Global Child Development photography and video to examine the availability of Kim Ferguson (Kim Johnson) food in the neighborhoods where they live, review Intermediate, Small seminar—Fall media related to the course themes, and use a time/ The majority of the world’s children live in the global space food diary to participate in a SNAP Challenge South, yet less than 10% of developmental science (eating on a food stamp budget), while reflecting on research has studied communities that account for the ways that their own eating habits are influenced 90% of the world’s population. Thus, there is a by the social and material settings of their day-to- desperate need to better understand child and day lives. The course concludes with students adolescent development outside of the United States writing letters to the editor/Op-Eds to a news outlet and Western Europe. In this course, we will begin to of their choice, with suggestions about how to move do this by exploring what is currently known about forward with action to improve food access, public children’s health and nutrition, motor and cognitive health, and social justice in the places where they language, and social and emotional development live. across the globe. Where the research is limited, we will consider if and when research in the global North can be informative regarding child development in the global South. As we do this, we will discuss various bioecocultural approaches to better map out the connections between multiple factors, at multiple levels, impacting children’s THE CURRICULUM 137 developmental outcomes. Such holistic, interpersonal problem solving. Conference work may multidisciplinary approaches will lay a foundation include field placement at the Early Childhood Center for sustainable, context-appropriate, community- or other venues, as interactions with real children based projects to better understand and reduce the will be encouraged. Prerequisite: a prior course in aversive effects of multiple environmental risk psychology. factors on the development of children across the globe. These approaches will also help us understand Theories of the Creative Process and build upon the opportunities afforded by different contexts. Readings will be drawn from both Charlotte L. Doyle classic and contemporary research in developmental Intermediate, Seminar—Fall and cultural psychology, psychobiology, The creative process is paradoxical. It involves anthropology, sociology, and public health, with a freedom and spontaneity yet requires expertise and critical eye toward understanding both the hard work. The creative process is self-expressive usefulness and the limitations of this research in yet tends to unfold most easily when the creator light of the populations studied and the forgets about self. The creative process brings joy methodologies employed. To better understand these yet is fraught with fear, frustration, and even contexts, we will also read the literary work of both terror.The creative process is its own reward yet classic and contemporary authors from the global depends on social support and encouragement. In South. Conference work will provide the opportunity this class, we look at how various thinkers for students to focus on a particular context of conceptualize the creative process—chiefly in the children’s lives in greater detail. This may include arts but in other domains, as well. We see how fieldwork at the Early Childhood Center or in another various psychological theorists describe the process, setting with children. This is a small collaborative its source, its motivation, its roots in a particular seminar. In addition to the class meeting time, domain or skill, its cultural context, and its students will meet in small working groups developmental history in the life of the individual. throughout the semester. Prerequisite: a college-level Among the thinkers that we will consider are Freud, course in the social sciences Jung, Arnheim, Franklin, and Gardner. Different theorists emphasize different aspects of the process. In particular, we see how some thinkers Bullies and Their Victims: Physical emphasize persistent work and expert knowledge as and Social Aggression in essential features while others emphasize the need Childhood and Adolescence for the psychic freedom to “let it happen” and Carl Barenboim speculate on what emerges when the creative Intermediate, Seminar—Fall person “lets go.” Still others identify cultural context It can be the bane of our existence in childhood: the or biological factors as critical. To concretize bully who simply will not leave us alone. Until fairly theoretical approaches, we look at how various ideas recently, the image that came to mind, in both the can contribute to understanding specific creative popular imagination and the world of psychological people and their work. In particular, we will consider study, was that of a physically imposing and works written by or about Picasso, Woolf, Welty, physically aggressive boy—someone who found the Darwin, and some contemporary artists and writers. littlest, most defenseless boy to pick on. In recent Though creativity is most frequently explored in years, however, that image has begun to change. individuals, we also consider group improvisation in Now we realize that the ability to harm a person’s music and theatre. Some past conference projects social relationships and social “standing” —usually have involved interviewing people engaged in through the manipulation of others—can be every creative work. Others consisted of library studies bit as devastating to the victim. And in this new centering on the life and work of a particular world of social aggression, girls’ expertise has come creative person. Some students chose to do to the fore. In this course, we will study the nature of fieldwork at the Early Childhood Center and focus on bullies and victims in both the physical and social an aspect of creative activity in young children. A sense and the possible long-term consequences of background in college-level psychology, social such bullying for both the perpetrator and the picked science, or philosophy is required. upon. We will explore recent evidence that bullying and victimization begin even in the preschool years, far earlier than previously thought; and we will examine some modern approaches used to break this vicious cycle, such as peer programs and 138 Psychology Speaking the Unspeakable: How is the sexual/racial/gendered implicated in the Trauma, Emotion, Cognition, and creation of this self-identity? Is there principled dynamic or developmental change in our concepts of Language self, whether as human beings, sexual beings, and/or Emma Forrester racial/ethnic beings? This class explores the Intermediate, Seminar—Fall analysis of race, ethnicity, and sexualities within Psychological trauma has been described as psychology and the broader social sciences; how unspeakable—so cognitively disorganizing and those constructs implicitly and explicitly inform intense that it is difficulto t put the experience and psychological inquiry; and the effects of those the emotions it evokes into words. Yet, the language constructs on the “psychology” of the individual in that survivors use to describe their traumas provides context. This class regularly moves beyond insight into the impact of trauma and the process of psychology to take a broader, social-science recovery. This course will begin with an overview of perspective on the issue of intersectionality. theories of trauma, resilience, and post-traumatic Students who have studied race/ethnicity, gender, or growth, as well as an introduction to the study of sexuality in at least one other class would be best trauma narratives and how language reflects prepared to take this class. emotional and cognitive functioning. We will then explore the cognitive, emotional, and biological impact of undergoing a trauma and how those Thinking Evil: A Social changes are reflected in the language that trauma Psychological Exploration survivors use as they speak and write about their Gina Philogene experiences. We will consider works by experts on Intermediate, Seminar—Fall trauma and language, including Judith Herman, The attributional power of the concept of “evil,” in Bessel van der Kolk, and James Pennebaker, as well its various representations, has been quite dominant as current research in the field of trauma and recently. The concept has manifested itself not just trauma narratives. Through these readings, we will in public discourse or theological mystification but address topics such as what makes an experience also in the work of social scientists, politicians, traumatic, how representations of trauma in popular philosophers, and journalists. “Evil” may even be culture color our perceptions of trauma and seen as part of how social media has evolved. recovery, the role of resilience and growth following Various atrocities and horrors over the past hundred a trauma, and what we can learn from attending to years are proof of “evil's” omnipresence—the the content and structure of language. This course prominence of lynching in the South of the United will be of interest to students who are curious about States, the Holocaust, different genocides (e.g., how the words that we use reflect our ognitivc e and Armenians, Leopold II in the Congo, America’s emotional functioning—and especially for students occupation of Haiti, Pol Pot in Cambodia, China’s interested in pursuing topics such as these at an Cultural Revolution, Rwanda), and more recently the advanced or graduate level. terrorist attacks on 9/11 and in Paris. Of course, this notion of “evil” is well anchored in most of our Intersectionality Research religious imaginations. In this century, we have experienced continuous processes of “glorification” Seminar of “evil” through the reemergence of religion, Linwood J. Lewis facilitating the propagation of various hegemonic Intermediate, Seminar—Fall representations of “evil.” This seminar seeks to This class is a hands-on introduction to conducting explore the nature of “evil” in our moral, political, qualitative and quantitative psychological research and legal discussions. Is it an outdated concept that on the intersection of race/ethnicity, gender, and we should no longer use? What are the conditions sexuality. Although research is an indispensable part defining an action as “evil?” What do ew mean when of scientific endeavors, the conduct of research we identify an individual as being “evil?” Is there a itself is part scientific ritual and part art form. In relation between the action and the individual this class, we will learn both the science and the art committing those acts? These are all questions that of conducting ethical research with diverse we will seek to address from a social-psychological participants. What is the connection of race, (and thus rather interdisciplinary) perspective. sexuality, and gender within an American multicultural and multiethnic society? Is there a coherent, distinct, and continuous self existing within our postmodern, paradigmatic, etc. contexts? THE CURRICULUM 139 Theories of Development experimental studies of some aspect of memory. Some previous coursework in psychology is required, Barbara Schecter and a previous course in statistics is highly Intermediate, Seminar—Fall recommended. “Knowledge is there in the seeing.” What we observe when we look at children is related to the adult assumptions, expectations, and naïve theories that Cultural Psychology of we carry with us from our own families and Development childhoods. How are these related to the ways that Barbara Schecter theorists have framed their questions and Intermediate, Seminar—Spring understandings of children’s experiences? Cultural psychology is the study of the ways in which Competing theoretical models of Freud, Skinner, individual and culture, subject and object, person Bowlby, Piaget, Vygotsky, Werner, and others have and world constitute each other. This course will shaped the field of developmental psychology and explore how children and adolescents make meaning have been used by parents and educators to of their experiences in the contexts in which they determine child-care practice and education. In this live—assuming that, for all of us, development is an course, we will read the classic theories in their ongoing response to the cultural life around us and primary sources—psychoanalytic, behaviorist, that culture is a dynamic process of engagement. We attachment, and cognitive-developmental—as they will consider topics such as: language and culture, were originally formulated and in light of early storytelling in families, transitions from home subsequent critiques and revisions. Questions we to school, and gendered and racial identities. We will will consider include: Are there patterns in our read a combination of psychological and emotional, thinking, or social lives that can be seen anthropological texts. Questions to be explored as universal, or are these always culture-specific? include: How are a sense of self and place Can life experiences be conceptualized in a series of constituted in early childhood? How are these values stages? How else can we understand change over expressed in children’s stories, art, and play? How do time? We will use theoretical perspectives as lenses adolescents navigate differing language through which to view different aspects of communities and cultural values in forging their experience—the origins of wishes and desires, early identities? What are some of the implications for parent-child attachments, intersubjectivity in the public education in this country? Students will have emergence of self, symbolic and imaginative the opportunity to do fieldwork in school or thinking, and the role of play in learning. For community settings and to use conference work to conference work, students will be encouraged to do bridge reading and practical experience. fieldwork at the Early Childhood Center or in another Prerequisite: previous course in psychology or setting with children, as one goal of the course is to another social science. bridge theory and practice. For graduate students and seniors with permission of the instructor. Advanced Research Seminar Memory Research Seminar Meghan Jablonski, Elizabeth Johnston, Linwood J. Lewis Elizabeth Johnston Intermediate/Advanced, 3-credit seminar—Year Intermediate, Seminar—Spring In this multifaculty seminar, students will gain the The experimental study of remembering has been a knowledge necessary to prepare themselves to vital part of psychology since the beginning of the conduct ethical and rigorous psychological research. discipline. The most productive experimental Faculty members will present tutorials on research approach to this subject has been a matter of ethics, qualitative and quantitative research intense debate and controversy. The disputes have methods, behavioral statistics, measuring centered on the relationship between the forms of demographics, and issues of ethnicity, gender, and memory studied in the laboratory and the uses of class intersectionality. Guest speakers and alumni memory in everyday life. We will engage this debate panels on special topics (such as graduate school through the study of extraordinary memories, and early career experiences in psychology) will be autobiographical memories, the role of visual included. In addition, students will form small imagery in memory, accuracy of memory, expertise, groups, supervised by individual faculty members, eyewitness testimony, and the neuroanatomy of that will meet weekly in order to deepen their study memory. Frederic Bartlett’s constructive theory of of research methods and practices. In addition to the memory will form the theoretical backbone of the faculty tutorials, the seminars will include course. Most conference work will involve 140 Psychology discussion of contemporary research in a journal done on trait psychology, and we will consider its club format. All faculty and students involved will value for developmental understanding of the take turns leading the discussion of research, with person. We will also consider the issues that this faculty taking the lead at the beginning of the approach raises about children’s development into semester and pairs of students taking the lead as individuals with unique personalities within broad, their expertise develops. Weekly small group shared developmental patterns in a given culture. meetings with one of the faculty members will Readings will include the work of Anna Freud, Erik involve reading and discussing research articles and Erikson, Margaret Mahler, Daniel Stern, Steven research methods papers specific ot the topics of Mitchell, Nancy Chodorow, George Vaillant, and research of mutual interest to the students and others. Throughout the semester, we will return to faculty member. Students will be expected to learn fundamental themes such as the complex the current research approaches in his/her area of interaction of nature and nurture; as yet unanswered interest and develop a plan for future (or ongoing) questions, for example, about the development of independent research projects. Students personal style; and the cultural dimensions of participating in the Advanced Research Seminar will personality development. An interest in theory and be expected to attend and actively participate in its applications is important, as is some background weekly full-group seminars, weekly group meetings, in psychology. Fieldwork at the Early Childhood and regular (typically, at least biweekly) individual Center or another appropriate setting is required, conference meetings with their faculty supervisor; although conference projects may or may not center keep an ongoing journal and/or scientific lab on aspects of that experience, depending on the notebook; select and facilitate group discussions of individual student’s interest. relevant contemporary research articles (at least once for each meeting type); develop thorough plans Challenges to Development: Child for (or complete) an independent research project and report on their planned study or completed and Adolescent Psychopathology research in the form of a short paper and a poster at Jan Drucker the Natural Sciences and Mathematics Poster Intermediate/Advanced, Seminar—Spring Session; and provide ongoing verbal and written We live in a society that often seems preoccupied feedback on their projects to their colleagues. This is with labeling people and their characteristics as a good course for students interested in preparing “normal” or “abnormal.” This course covers some of for graduate work in psychology and/or senior the material usually found in “abnormal psychology” theses or other extended independent research courses by addressing the multiple factors that play projects. Permission of the instructor is required. a role in shaping a child’s development, particularly as those factors may result in what we think of as psychopathology. Starting with a consideration of Becoming Oneself: From Freud to what the terms “normality” and “pathology” may Contemporary Psychoanalytic refer to in our culture, we will read about and Theories of Personality discuss a variety of situations that illustrate Development different interactions of inborn, environmental, and Jan Drucker experiential influences on developing lives. For Intermediate/Advanced, Seminar—Fall example, we will read theory and case material A century ago, Sigmund Freud postulated a complex addressing congenital conditions such as deafness theory of the development of the person. While some and life events such as acute trauma and abuse, as aspects of his theory have come into question, many well as the range of less clear-cut circumstances of the basic principles of psychoanalytic theory have and complex interactions of variables that have an become part of our common culture and worldview. impact on growth and adaptation in childhood and This course will explore psychodynamic adolescence. We will try, however, to bring both developmental concepts about how personality critical lenses and a range of individual perspectives comes to be through reading and discussion of the to bear on our discussion of readings drawn from work of key contributors to psychoanalytic clinical and developmental psychology, memoir, and developmental theory since Freud. We will trace the research studies. In this process, we will examine a evolution of what Pine has called the “four number of the current conversations and psychologies of psychoanalysis”—drive,ego, object, controversies about assessment, diagnostic/ and self-psychologies—as well as the more recent labeling, early intervention, use of psychoactive integrative “relational perspective.” This is a medications, and treatment modalities. Students will different approach from the social personality work be required to engage in fieldwork at the Early THE CURRICULUM 141

Childhood Center or elsewhere and may choose Media Burn: Moving Image Installation in whether to focus conference projects on aspects of Practice (p. 175), Jenny Perlin Visual and Studio that experience. Arts The Body, Inside Out: Drawing and Painting Other courses of interest are listed below. Full Studio (p. 171), John O’Connor Visual and Studio descriptions of the courses may be found under the Arts appropriate disciplines. The New Narrative Photography (p. 176), Joel Sternfeld Visual and Studio Arts Histories of Modern and Contemporary Art (p. 11), Nonfiction orkW shop: To Tell the Truth (p. 183), Sarah Hamill Art History Suzanne Gardinier Writing Drugs and the Brain (p. 19), Cecilia Phillips Toro Our World, Other Worlds (p. 180), Myra Goldberg Biology Writing First-Year Studies: The Brain According to Oliver Sacks (p. 19), Cecilia Phillips Toro Biology Neurobiology (p. 21), Cecilia Phillips Toro Biology Democracy and Emotions in Postwar PUBLIC POLICY Germany (p. 78), Philipp Nielsen History Public Stories, Private Lives: Theories and Methods Sarah Lawrence College’s public policy program of Oral History (p. 78), Mary Dillard History addresses the most pressing public policy issues of The Middle East and the Politics of Collective our time, including promoting peace, protecting the Memory: Between Trauma and environment, providing education and health Nostalgia (p. 77), Matthew Ellis History services, and safeguarding human and workers’ Conscience of the Nations: Classics of African rights. Supported by the College’s Office of Literature (p. 95), William Shullenberger Community Partnerships, students partner with Literature unions, community organizations, and legal groups Eight American Poets: Whitman to Ashbery (p. 98), in the New York City area as a required element of Neil Arditi Literature their course work, gaining direct experience that First-Year Studies: The Perils of Passion: Ancient they can relate to theoretical issues. Greek History for Today’s Troubled Students also participate in international Times (p. 89), Emily Katz Anhalt Literature fieldwork, including at a labor research exchange in Odyssey/Hamlet/Ulysses (p. 96), William Cuba, a health care worker conference in the Shullenberger Literature Dominican Republic, a community-organizing project Romanticism and Its Consequences in English- to help establish a medical clinic for residents of the Language Poetry (p. 92), Neil Arditi Literature impoverished community of Lebrón in the Dominican Slavery: A Literary History (p. 97), William Republic, and a study trip to the United States/ Shullenberger Literature Mexico border area of El Paso/Juarez. This The Poetry of Earth: Imagination and Environment in combination of study and direct experience exposes English Renaissance Poetry (p. 94), William students to various approaches to problems and Shullenberger Literature builds an enduring commitment to activism in many An Introduction to Statistical Methods and forms. Analysis (p. 100), Daniel King Mathematics The Creative Process: Influence and First-Year Studies: From Schools Resonance (p. 105), Chester Biscardi Music to Prisons: Inequality and Social Introduction to Social Theory: Philosophical Tools for Policy in the United States Critical Social Analysis (p. 117), David Peritz Luisa Laura Heredia Philosophy Open, FYS—Year Chaos or Calm: The 2020 Elections (p. 125), Samuel Inequality and social policy go hand in hand in the Abrams Politics United States. From the schools to the criminal Democracy, Diversity, and (In)equality (p. 126), justice system, policies structure our lives by either David Peritz Politics contributing to or helping to scale back inequality. Advanced Interdisciplinary Studio II (p. 171), John This course introduces students to policymaking O’Connor Visual and Studio Arts through the lens of different issue areas in the First-Year Studies: The Way Things Go (p. 169), John United States. Students will examine major policy O’Connor Visual and Studio Arts areas—including immigration, criminal justice, health, and education—along three axes. First, we will explore these areas socially and historically to 142 Public Policy see how debates and policies have evolved. We will of images that captured the 2006-2007 also draw from the social-science literature to demonstrations in big cities where they were examine the strengths and weaknesses and the expected, like Chicago and New York, but also in intended and unintended consequences of those smaller towns and cities in Nebraska, Colorado, policies. Second, we will explore the complicated Indiana, and elsewhere. More recently, images of system of institutions that have the power to make unauthorized youth facing off with police and public-policy decisions in each of those areas and immigration officials vha e become more across federal, state, and local levels. Finally, we will commonplace, the newest of these images being a explore the role of different actors in attempting to young woman in Los Angeles sitting atop a ladder influence and implement policy—organized surrounded by police awaiting her fate. These interests, experts, and local communities. Students images speak to us of a movement for immigrant will leave the class with an understanding of major rights that calls us to engage with questions of policy issues, policymaking, and how to effect policy immigration enforcement, “illegality,” and change. This foundational information will feed into citizenship. In this course, we will explore the broader discussion about inequality in the United historical, legal, and cultural construction of States. Biweekly individual conferences will “illegality.” Rather than a strictly legal category, alternate with group conference activities. “illegality” has been constructed over time through policy and discourse. As such, we will ground our The American Welfare State investigation of the present in an investigation of the past. Students will assess the evolution of Luisa Laura Heredia immigration-control practices and of the Sophomore and above, Seminar—Spring construction of “illegality,” from the US focus on This course will assess the historical and political policing the Chinese through the buildup of the US- trajectory of the American welfare state. Students Mexico border and into the present. Our study of will learn about the US policy response to economic contemporary debates will center on the shifts in inequality and poverty via redistributive policies and immigration control and the actions of key elite and evaluate different theories about why the response grass-roots actors in attempting to shape this has been so weak. In addition, the course will explore politics of enforcement. Students will use the the role of mulitiple actors and factors that have theoretical tools provided by studies of immigration shaped this policy area, with particular attention to enforcement, social movements, and the politics of public opinion, interest groups, race relations, social membership and belonging to assess immigration movements, and the state. Race, immigration, and politics over time and to offer ways forward in the gender will also be important axes of analysis, as contemporary moment. they have been intimately linked with the development of the welfare state and its evolution, Other courses of interest are listed below. Full as well as evolving understandings of race, descriptions of the courses may be found under the immigration, family, and work. Finally, the course appropriate disciplines. will allow for broader based discussions on the US welfare system in relation to US ideals and in Economics of Environmental Justice: People, Place, relation to the welfare systems of other countries. and Power (p. 37), An Li Economics Overall, students will gain an understanding of the Economics of the Environment and Natural scope, form, and function of social welfare provision Resources: Market Failures, Capitalism, and in the United States into the contemporary period. Solutions (p. 36), An Li Economics History of Economic Thought and Economic History: The Politics of “Illegality,” Economic and Legal Foundations (p. 36), Surveillance, and Protest Jamee K. Moudud Economics Intermediate Macroeconomics: Main Street, Wall Luisa Laura Heredia Street, and Policies (p. 38), An Li Economics Advanced, Seminar—Fall Intermediate Microeconomics: Conflicts, Over the past few years, newspapers, television, Coordination, and Institutions (p. 37), An Li Facebook and Twitter have disseminated images of Economics unauthorized immigrants and their allies taking to Introduction to Economic Theory and Policy (p. 36), the streets to protest punitive immigration policies. Jamee K. Moudud Economics The aerial shot of downtown Los Angeles on March 25, 2006, with more than 500,000 immigrants and allies wearing white t-shirts, was only one in a series THE CURRICULUM 143

Legal Foundations to Business History: Corporate Nonfiction orkW shop: To Tell the Truth (p. 183), Governance, Democracy, and Economic Suzanne Gardinier Writing Transformation (p. 38), Jamee K. Moudud Our World, Other Worlds (p. 180), Myra Goldberg Economics Writing Introduction to Property: Cultural and Environmental Wrongfully Accused (p. 183), Marek Fuchs Writing Dimensions (p. 40), Charles Zerner Environmental Studies Food, Agriculture, Environment, and Development (p. 61), Joshua Muldavin RELIGION Geography Religious traditions identify themselves with, and Introduction to Development Studies: The Political draw sustenance from, the texts that they hold Ecology of Development (p. 63), Joshua sacred. In Sarah Lawrence College religion courses, Muldavin Geography those texts command and hold our attention. As The Geography of Contemporary China: A Political students explore the sacred text of a particular Ecology of Reform, Global Integration, and Rise religion—whether studying Buddhism, early to Superpower (p. 62), Joshua Muldavin Christianity, or the origins of Islam—they gain Geography insight into the social and historical context of its Diversity and Equity in Education: Issues of Gender, creation. Using critical, hermeneutical, and Race, and Class (p. 78), Nadeen M. Thomas intellectual historical approaches, students enter History into the writings in such depth as to touch what Human Rights (p. 71), Mark R. Shulman History might be the foundation of that religion. In addition, International Law (p. 70), Mark R. Shulman History work with contemporary texts (such as those by First-Year Studies: The Perils of Passion: Ancient religious activists on the Internet) gives students Greek History for Today’s Troubled insight into what most moves and motivates Times (p. 89), Emily Katz Anhalt Literature religious groups today. The College’s religion courses An Introduction to Statistical Methods and provide an important complement to courses in Analysis (p. 100), Daniel King Mathematics Asian studies and history. Introduction to Social Theory: Philosophical Tools for Critical Social Analysis (p. 117), David Peritz Philosophy First-Year Studies: The Buddhist Chaos or Calm: The 2020 Elections (p. 125), Samuel Philosophy of Emptiness Abrams Politics T. Griffith Foulk Democracy, Diversity, and (In)equality (p. 126), Open, FYS—Year David Peritz Politics The concept of a “thing”—an entity that exists in Intervention and Justice (p. 126), Elke Zuern Politics and of itself, separate from all other things—is Moonshots in Contemporary American nothing but a useful fiction: In the ealr world, there Politics (p. 124), Shayna Strom Politics actually are no “things” that meet that description. Global Child Development (p. 136), Kim Ferguson This, in a nutshell, is the startling proposition (Kim Johnson) Psychology advanced by the Buddhist doctrine of śunyatā, or Advanced Research Seminar (p. 139), Meghan “emptiness,” as the Sanskrit term is usually Jablonski , Elizabeth Johnston , Linwood J. Lewis translated. Often misconstrued by critics as a form Psychology of nihilism (“nothing exists”), idealism (“all that Changing Places: Sociospatial Dimensions of exists are mental phenomena”), or scepticism (“we Urbanization (p. 151), Shahnaz Rouse Sociology can never know what really exists”), the emptiness Intensive Semester in Yonkers: Communities, doctrine is better interpreted as a radical critique of Knowledge, and Action: Engaged Research the fundamental conceptual categories that we Methods in Yonkers (p. 152), Sarah Wilcox habitually use to talk about and make sense of the Sociology world. This FYS course has several aims. In general, it Politics of Health (p. 150), Sarah Wilcox Sociology is designed to help students develop the kind of Media Burn: Moving Image Installation in research, writing, and critical thinking skills that are Practice (p. 175), Jenny Perlin Visual and Studio needed for academic success in college and in Arts whatever career paths they may pursue thereafter. New Genres: Cultural HiJack (p. 174), Angela Ferraiolo More specifically, the course aims to impart a clear, Visual and Studio Arts accurate understanding of the “emptiness” doctrine First-Year Studies: Ecopoetry: Poetry in Relation to as it developed in the context of Buddhist the Living World (p. 179), Marie Howe Writing intellectual history and found expression in various 144 Religion genres of classical Buddhist literature. Another aim The Buddhist Tradition in India, of the course is to explore ways in which the Tibet, and Southeast Asia emptiness doctrine, if taken seriously as a critique of the mechanisms and inherent limitations of T. Griffith Foulk human knowledge, may be fruitfully brought to bear Open, Lecture—Fall in a number of different disciplines, academic and This intoductory course treats the evolution of otherwise. In the fall semester, the class will read Buddhism in India, from the origins of the religion as and discuss a number of Buddhist texts—primary a group of “world-renouncing” ascetics through the sources in English translation from the original development of large, state-supported monastic Sanskrit or Chinese—that advocate the philosophy communities and the emergence of the major reform of emptiness, as well as some secondary scholarship movements known as Mahāyāna and Tantra. The on the subject. Students will also be given a series of course also focuses on the Buddhism of two regions homework assignments that target basic academic of the world—Southeast Asia and the Tibetan skills in the humanities and social sciences (e.g., plateau—where the respective traditions have been how to do bibliographic research and evaluate the most self-consciously concerned with maintaining reliability of sources, how to annotate scholarly precedents inherited from India. Equal attention is writing, etc.). Individual conference meetings with paid to: (1) matters of philosophy and doctrine, (2) the instructor in the fall will be devoted to learning religious rites and practices, and (3) social and and improving those skills. In the spring semester, institutional arrangements. The lectures are the class will read and discuss a number of scholarly accompanied by copious audio-visual materials. For works written in English that deal with Western students who wish to continue studying the (non-Buddhist) traditions of historiography, literary development of the Buddhist tradition in other parts theory, and scientific inquiry. The readings are of the world, a companion lecture course, entitled designed to introduce students to some of the main The Buddhist Tradition in East Asia, is offered in the intellectual trends in the humanities, social spring semester. sciences, and “hard” sciences that they are likely to encounter in other college courses. At the same The Buddhist Tradition in East Asia time, the class will learn how to use the Buddhist T. Griffith Foulk doctrine of emptiness as an analytical tool to Open, Lecture—Spring critique the conceptual models employed in the This introductory course focuses on the Buddhism of various academic disciplines treated in the readings. East Asia: China, Korea, Japan, and Vietnam. For individual conference work in the spring, each Buddhism first began ot take root in China in the student will be required to use that tool to analyze early centuries of the Common Era, having been the fundamental nomenclature—the way of dividing transmitted from India via Central Asia and the up the world into “things”—employed by some maritime states of Southeast Asia. Buddhism initially particular field of human endeavor, which may be an met with much resistance, being branded an “alien” academic, artistic, or athletic discipline or any other cult that was at odds with native Chinese (especially endeavor (e.g., political or economic) in which the Confucian) values. Eventually, however, the Indian student is especially interested. At the end of the religion adapted to Chinese culture and came to have semester, each student will have half of a class a profound influence on it, spawning new schools of meeting to introduce his or her particular field of Buddhism such as Tiantai, Huayan, Pure Land, and inquiry to everyone else. Students will select some Chan (called Zen in Japan). The smaller, neighboring representative readings that the class will do in countries that fell under the sway of Chinese advance, lead a discussion of those readings, and civilization—Korea, Japan, and Vietnam—first present their own critical analysis of the imported forms of Buddhism that had taken shape in nomenclature used in the field in question. All China, not India; but each, in turn, further changed students will have an individual conference meeting the religion in ways that accorded with their own with the instructor on a weekly basis for the first six indigenous cultures. Equal attention is paid in this weeks of the course; thereafter, conferences may be course to: (1) matters of philosophy and doctrine, (2) held on a biweekly basis, depending on student religious rites and practices, and (3) social and progress. institutional arrangements. The lectures are accompanied by copious audio-visual materials. The course has no prerequisite, but it is suitable for students who have already taken the companion lecture, The Buddhist Tradition in India, Tibet, and Southeast Asia, which is offered in the fall. THE CURRICULUM 145 The Emergence of Christianity Also included will be contemporary writings, written by Muslims, that mine the riches of the classical Cameron C. Afzal heritage of Qur’anic exegesis while grappling with Open, Seminar—Year the difficulties of dealing with ae t xt that originated There is perhaps no one who has not heard of the in seventh-century Arabia. name of a seemingly obscure carpenter's son executed by the Romans around 33 CE. Why? The religion we call Christianity shaped the Western Readings in the Hebrew Bible: The World for at least 1,500 years. In this course, we will Wisdom Tradition study the origins of this tradition. As we study the Cameron C. Afzal origins of this movement, we will explore Judaism in Open, Seminar—Fall the strange and fertile Second Temple period (515 The question of theodicy is most acute in times of BCE -70 CE). We will encounter the learned societies social and political crisis. Theodicy refers to the of holy men like the Pharisees and the Qumran problem of evil in the context of a religion whose sectarians, as well as the freedom fighter/terrorists foundation is the monotheistic belief in a good and called the Zealots. Our main source will be the New benevolent God. The Bible, in the Book of Testament of the Christian Bible, though these will Deuteronomy, promises Israel that adherence to the be supplemented by other primary materials. Torah will lead to a good life. This belief system was Excerpts from the Dead Sea Scrolls and rabbinic severely challenged by the loss of the land of Israel literature, as well as other Hellenistic texts from this in the Babylonian invasion of 587 BCE. The period, provide the cultural backdrop in which destruction of the Temple by the Babylonians and Christianity has its roots. We will learn about the the subsequent exile of the Israelites engendered a spread of the new movement of “Christians,” as it rich and complex body of literature. Jewish scribes was called by its detractors in Antioch. How did this wrote books of wisdom intended to guide Israel into movement, which began among the Jews of the uncharted waters that their God had presumably Eastern Mediterranean, come to be wholly taken them. To this end, we will read books like associated with Gentiles by the end of the second Proverbs, Job, Ecclesiastes, Ben-Sira with a view to century. Who became Christian? Why were they understanding how those works addressed hated so much by the greater Greco-Roman society? theological issues of their day. What did they believe? How did they behave? What are the origins of “Christian anti-semitism”? What kind of social world, with its senses of hierarchy and Storytelling and Spirituality in gender relations, did these people envision for Classical Islam themselves? Kristin Zahra Sands Open, Seminar—Fall The Qur’an and Its Interpretation One of the greatest rock songs of all time, “Layla,” Kristin Zahra Sands was written by Eric Clapton after he read the story of Open, Seminar—Year the star-crossed lovers Layla and Majnun. This tale of To watch a Muslim kiss the Qur’an is to recognize a Bedouin poet, who went mad after he was cut off that this is not a “book” in the ordinary sense of the from his beloved, circulated widely in Arabic sources word. There is an art to reciting its verses and an art for hundreds of years before being expanded into a to its calligraphy. The uncovering of its meanings has long narrative poem in Persian by Nizami in the 12th been variously understood by Muslims to be a matter century. By this point in time, telling compelling of common sense, diligent scholarship, or profound stories had become a means by which Sufi writers inspiration. In this seminar, we will begin by studying (the mystics of Islam) described their particular the style and content of the Qur’an. Some of the vision of being Muslim—which was that of the themes that may be discussed are the nature and pitfalls, despairing moments, and ecstasies of the function of humans and supernatural beings, free spiritual quest and search for closeness to the divine will and determinism, the structure of this and other Beloved. Layla and Majnun were just one of several worlds, God’s attributes of mercy and wrath, gender couples in allegorical stories that were understood and family relations, other religions, and the as teaching vehicles for disciples on the path. On the legitimate use of violence. We will also look at the opposite end of the plot spectrum, there is Ibn types of literature that developed in response to the Tufyal’s famous story of Hayy ibn Yaqzan, a mystical- Qur’an in texts ranging from the entertaining stories philosophical work in Arabic also written in the 12th of the prophets, to scholastic theological and century. That story describes an abandoned baby philosophical analysis, to poetic mystical insights. growing up on a desert island, raised first yb a deer 146 Religion and then by his own devices as he slowly discovers cultural contribution of the Ancient Greeks, as well the nature of the human-divine relationship. Other as a basic timeline of their history through the classical works dispensed with this format of the Hellenistic age. singular narrative, opting instead for nesting stories within stories and mixing animal stories with stories Jewish Autobiography about humans. We will look at examples of those literary techniques in translations of Farid ad-Din Glenn Dynner Attar’s Conference of the Birds, Jalal ad-Din Rumi’s Open, Seminar—Spring Mathnawi, and The Thousand and One Nights. What is Autobiography is among the most contentious common to all of the works that we will be reading literary/historical genres, compromised by the in this class is the way in which storytelling here is fallibility of memory and the human tendency rooted in a deeper dimension that explores the towards self-fashioning yet unique in its insights human potential for more refined behavior and into history as a lived experience. This course ethics, as well as for higher spiritual states. employs personal narratives as windows onto the Jewish transition to modernity. We begin with narratives by “traditional” Jewish men and women, American Religious Mythmaking: including the mystic Hayyim Vital and the successful The Stories We Tell Ourselves businesswoman Gluckel of Hameln. We then proceed Irene Elizabeth Stroud to the wrenching accounts of early detractors from Open, Seminar—Fall tradition—like Solomon Maimon, Ezekiel Kotik, and In this course, we will explore some of the religious Pauline Wengeroff—and writings by Jewish leaders narratives and images that Americans have of modern political movements such as Zionism, repurposed and modified ot make sense of their Jewish socialism, communism, orthodoxy, and ultra- peoplehood and their place in the world. By exploring orthodoxy. We conclude with individual perspectives iconic events, images, institutions, texts, and on the Holocaust through the eyes of victims, artifacts—from the “city on a hill” to Fiddler on the bystanders, and perpetrators; insights into the Roof—we will see how religious narratives have Israeli-Palestinian conflict rf om each side; and informed interpretations of the American past, American Jewish feminist, queer, and transgender layering ancient stories of conquest, redemption, self-narratives. and rebirth onto memories of the 17th, 18th, 19th, and 20th centuries. We will discuss putative Viking Religious Mavericks and Radicals explorers in medieval Minnesota to UFOs, comic-book Kristin Zahra Sands superheroes, and mythic creatures in the landscape Open, Seminar—Spring while wrestling with myths such as Manifest Destiny, Is religion meant to protect the status quo or to streets of gold, and national innocence. We will also challenge it? This course examines individuals and consider whether the notion of American religious groups that have experimented with ideas and freedom itself has mythic dimensions. practices that are designed to upend established paradigms and institutions in nonviolent ways. On Introduction to Ancient Greek the individual level, this might involve spiritual Religion and Society training along the lines of “crazy wisdom,” which is Cameron C. Afzal intended to destabilize the ordinary ways in which Open, Seminar—Spring one views oneself and reality. It might also entail the Few people dispute the enormous impact that the adoption of monastic-like disciplines that stand in Ancient Greeks have had on Western Culture—and stark contrast to the materialist preoccupations of even on the modern world in general. This seminar ordinary life. On the societal and political levels, will introduce the interested student to this culture religious innovators have created communities and mainly through reading salient primary texts in movements that challenge the mainstream English translation. Our interest will range broadly. interpretations of their respective traditions or the Along with some background reading, we will be norms of their societies. What distinguishes these discussing mythology (Hesiod), epic hymns and individuals and groups is their strong commitment to poetry (Homer), history (Herodotus), politics, ideas and practices that require fundamental and religion, and philosophy. By the end of the seminar, profound changes in individual, social, and political students should have a basic understanding of the behaviors. These commitments are usually not considered a reinterpretation of scriptures and earlier teachings but, rather, a rediscovery of their most crucial elements. Whether flouting society’s THE CURRICULUM 147 conventions through holy madness or alternative based on an understanding of the various actors’ communitarian practices—or contesting them perspectives during this dark chapter of European through new theologies and political history. activism—these practices are understood as a type of spiritual work. Examples of this phenomenon will Other courses of interest are listed below. Full be taken from a variety of religious traditions and descriptions of the courses may be found under the movements. appropriate disciplines. How Things Talk (p. 5), Aurora Donzelli Anthropology Religion, Healing, and Medicine in Archaeology and the Bible (p. 13), David Castriota Art the United States History Irene Elizabeth Stroud Sacrifice (p. 17), Sandra Robinson Asian Studies Sophomore and above, Seminar—Fall Hindu Iconography and Ritual (p. 18), Sandra Science and religion are often thought to be Robinson Asian Studies opposites. Yet, in making sense of liminal First-Year Studies: The Disreputable 16th experiences like pregnancy and childbirth, trauma, Century (p. 69), Philip Swoboda History or death, many people draw on both scientific and Odyssey/Hamlet/Ulysses (p. 96), William religious discourses at once. Most religions include Shullenberger Literature approaches to suffering and healing, described in Romanticism and Its Consequences in English- images as different as a balm in Gilead or a Language Poetry (p. 92), Neil Arditi Literature balancing of complementary forces. Some might Slavery: A Literary History (p. 97), William even argue that religion itself is, at root, a kind of Shullenberger Literature medicine. Meanwhile, modern medicine has found Existentialism (p. 117), Roy Ben-Shai Philosophy uses for religious teaching and practice that First-Year Studies: The Origins of Philosophy (p. 116), skeptics might find surprising, integrating things Roy Ben-Shai Philosophy like acupuncture, healing prayer, and mindfulness “I Think, Therefore I Am:” The Meditations of René meditation into the prevention and treatment of Descartes (p. 118), Roy Ben-Shai Philosophy disease—sometimes with measurable effects. What Introduction to Social Theory: Philosophical Tools for challenges and contributions does religion bring to Critical Social Analysis (p. 117), David Peritz the problem of caring for the human body? Philosophy Our World, Other Worlds (p. 180), Myra Goldberg The Holocaust Writing Glenn Dynner Intermediate, Seminar—Spring The Holocaust raises fundamental questions about RUSSIAN the nature of our civilization. How was it that a policy of genocide could be planned, initiated, and The goal of the Russian language classes at Sarah carried out against Jews, Roma (Gypsies), leftists, Lawrence College is to teach students to speak, homosexuals, Jehovah's Witnesses, and other groups comprehend, read, and write a fascinating language by Germany, a country that had produced many of with a logic very different from that of English. Oral the greatest thinkers and artists the world has proficiency is the focus of the first-year class, seen? In this course, we will attempt to explain how culminating in end-of-semester projects where these events took place, beginning with the students, in small groups, write and film skits. In the evolution of anti-Semitic ideology and violence. At second-year course, reading is also emphasized. We the same time, we will look at how victims, include short stories and poetry, as well as texts especially Jews, chose to live out their last years and paired with films. opics,T texts, and authors covered respond through art, diary-writing, spiritual in the advanced class vary widely, and student input practices, physical resistance, evasion, and more. is strongly encouraged. Past syllabi have included Finally, we will attempt to come to grips with the works by authors such as Pushkin, Gogol, Tolstoy, crucial but neglected phenomenon of Tsvetaeva, Bulgakov, and Pelevin, as well as films. bystanders—non-Jews who stood by while their Student work in class and conference is also neighbors were methodically annihilated. We shall supplemented by weekly meetings with the inevitably be compelled to make moral judgments; language assistant and by a variety of but these judgments will be of value only if they are extracurricular activities, including a weekly Russian 148 Science and Mathematics Table, Russian opera at the Metropolitan Opera in Intermediate Russian New York City, and excursions to Brighton Beach, Natalia Dizenko Brooklyn’s “Little Odessa.” Intermediate, Seminar—Year Students of Russian are strongly encouraged to At the end of this course, students should feel that spend a semester or, ideally, a year abroad. Sarah they have a fairly sophisticated grasp of Russian and Lawrence students regularly attend a variety of the ability to communicate in Russian in any programs, including: Middlebury College’s School in situation. After the first eary of studying the Russia, with sites in Moscow, Irkutsk, and Yaroslavl; language, students will have learned the bulk of Bard College’s program at the Smolny Institute in St. Russian grammar; this course will emphasize Petersburg; the Moscow Art Theatre School Semester grammar review, vocabulary accumulation, and through Connecticut College; ACTR in Moscow, St. regular oral practice. Class time will center on the Petersburg, or Vladimir; and CIEE. spoken language, and students will be expected to The Russian program also offers courses taught participate actively in discussions based on new in translation as part of the literature curriculum. vocabulary. Regular written homework will be Recent literature courses include: The Literatures of required, along with weekly conversation classes Russian and African American Soul: Pushkin and with the Russian assistant. Attendance at Russian Blackness, Serfs and Slaves, Black Americans and Table is strongly encouraged. Conference work will Red Russia; Dostoevsky and the West; The 19th- focus on the written language. Students will be Century Russian Novel; and Intertextuality in the asked to read short texts by the author(s) of their 20th-Century Russian Novel. More generally, students choice, with the aim of appreciating a very different of Russian also pursue their interest in Russia and culture and/or literature while learning to read Eastern Europe in many other areas of the College. independently, accurately, and with as little recourse Conference work always may be directed toward the to the dictionary as possible. Prerequisite: one year student’s field of interest. Courses focusing either of college-level Russian or the equivalent. entirely or in part on Russia and/or Eastern Europe are regularly offered in a number of disciplines, including history, film history, dance history, and Other courses of interest are listed below. Full philosophy. descriptions of the courses may be found under the appropriate disciplines. Beginning Russian Postwar: Europe on the Move (p. 70), Philipp Nielsen Melissa Frazier History Open, Seminar—Year Russia and Its Neighbors: From the Mongol Era to At the end of this course, students will know the Lenin (p. 70), Philip Swoboda History fundamentals of Russian grammar and will be able Russia and Its Neighbors: Lenin to Putin (p. 71), to use those fundamentals to read, write, and, above Philip Swoboda History all, speak Russian on an elementary level. Successful Comparative Literary Studies and Its Others (p. 94), language learning involves both creativity and a Bella Brodzki Literature certain amount of rote learning—memorization gives the student the basis to then extrapolate, improvise, and have fun with the language—and this course will lay equal emphasis on both. Our four SCIENCE AND MATHEMATICS hours of class each week will be spent actively using Science is a dynamic process by which we seek to what we know in pair and group activities, dialogues, improve our understanding of ourselves and the discussions, etc. Twice-weekly written homework, world around us. We use the language and methods serving both to reinforce old and introduce new of science and mathematics on a daily basis. Science material, will be required. At the end of each and mathematics nurture a special kind of creativity semester, we will formalize the principle of rigorous by enhancing our abilities to ask concise, meaningful but creative communication that underlies all of our questions and to design strategies to answer those work through small-group video projects. Students questions. Such approaches teach us to think and are also required to attend weekly meetings with the work in new ways and to uncover and evaluate facts Russian assistant; attendance at Russian Table is and place them in the context of modern society and strongly encouraged. everyday life. Science and mathematics classes are offered in a variety of disciplines—including biology, chemistry, computer science, mathematics, and THE CURRICULUM 149 physics—and at all levels, ranging from open SOCIAL SCIENCE courses to advanced seminars and individual laboratory research projects. The social-science program is designed to enrich and Qualified students have the option of enrolling systematize the understanding that we have of our in a Science Third program, whereby students own experiences in relation to broader societal simultaneously register for the seminar component forces. The social sciences begin from the premise of two science/mathematics courses that comprise that no matter how much we might wish to, we can one-third of their curriculum. Because Science Third never detach ourselves entirely from the social students will still be able to take two additional institutions and processes that are the context for nonscience courses each semester, this option is an our individual thoughts and actions. Thus, the opportunity for well-prepared or advanced students purpose of the social-science curriculum is to to study multiple science courses without limiting contribute to our empowerment by helping us their options in other disciplines. For more details understand the many ways in which people’s and information, please contact the faculty group. lives—values, goals, relationships, and beliefs—are affected by and have an impact on the social world. Pre-Health Program Most importantly, we can learn to contextualize our experiences in relation to those of others whose Students interested in pursuing further studies in personal, social, and cultural circumstances differ medicine or other health-related fields may take from our own. An ability to think critically about our advantage of the pre-health program, which social environment can enhance our experience of prepares students academically for medical school whatever else we may choose to study or do. and assists in meeting the demands of admission to In relation to the humanities, the social individual medical or graduate programs. Students sciences offer empirical and theoretical supplement required courses in biology, chemistry, perspectives that complement those of history, and physics with additional courses offered by the philosophy, and religion. In relation to literature and program as part of their preparation for the MCATs the creative arts, social sciences provide a context and postgraduate education. Conference work for a fuller understanding of the works that we study provides students with additional opportunities to and create. In relation to the natural sciences, social organize original research projects, pursue sciences help us analyze the economic, social, and independent learning, and critically examine political implications of modern technological professional literature—skills fundamental to future advances and our complex interaction with the success in medical and graduate schools. Students physical and biological environment. Finally, social- in the program have significant contact with the pre- science disciplines give us access to the information health adviser, as well as with other faculty and analytical tools that we must have in order to members in the program, through conferences, evaluate and formulate alternative public policies course work, and independent research; therefore, and to actively contribute to intellectual and public faculty members with a thorough and personal life. knowledge of the individual student write letters of For full course descriptions, see anthropology, recommendation. The pre-health adviser and faculty economics, environmental studies, politics, public members also serve as resources for information policy, and sociology. regarding application procedures, research and volunteer opportunities within the community, structuring of class work, MCAT preparation, and practice interviews. SOCIOLOGY See separate entries for specific oursec Class, power, and inequality; law and society descriptions in biology, chemistry, computer science, (including drugs, crime and “deviance”); race, mathematics, and physics. ethnicity, and gender issues; ways of seeing...these are among the topics addressed by Sarah Lawrence College sociology courses. Increasingly, social issues need to be—and are—examined in relation to developments in global politics and economics. Students investigate the ways in which social structures and institutions affect individual experiences and shape competing definitions of social situations, issues, and identities. 150 Sociology While encouraging student research in diverse course we will move through a series of texts that areas, courses tend to emphasize the relationship will help us understand the social world beyond our between the qualitative and the quantitative, the own experiences and how that world is made and relationship between theoretical and applied remade. practice, and the complexities of social relations rather than relying on simplistic interpretations. Sociology of Global Inequalities Through reading, writing, and discussion, students are encouraged to develop a multidimensional and Parthiban Muniandy nuanced understanding of social forces. Many Open, Lecture—Fall students in sociology have enriched their theoretical The focus of this lecture will be to introduce and empirical work by linking it thematically with students to the processes and methods of study in other disciplines—and through fieldwork. conducting sociological research projects using a transnational and/or comparative lens. We will be First-Year Studies: Seeing taking as our starting point a set of global themes—loosely categorized as human rights, Sociologically culture, migration, health, climate, and Sarah Wilcox development— through which we try to build our Open, FYS—Year understanding of inequality in various forms in To see sociologically is to see how society and social different contexts. The approach we take here in processes shape our lives. To do so, we will explore designing research would be one that aims to move the structure of ideas that contexualize our lives, beyond the national or the nation-state as a bounded how those ideas are institutionalized in culture and “container” of society and social issues; rather, we social organizations, and how that will aim at a better understanding of how different institutionalization forms a social structure that trends, processes, transformations, structures, and creates inequalities and both constrains and enables actors emerge and operate in globally and change. We will begin the semester with books that transnationally interconnected ways. For example, trace social structures from childhood to adulthood: we can look at migration not simply through the lens the reproduction of social class in childhood, gender of emigration/immigration to and from particular and sexuality in high school, and the medicalization countries but also through the lens of flows and of intersex conditions and subsequent construction pathways that are structured via transnational of adult identities via social movements. We will relationships and circuits of remittances, exchanges, then explore the central concept of social and dependencies. As part of group conferences, construction of social reality in more depth, studying students will be asked to identify one of the key how race is conceptualized by scientists, in global themes through which they will examine textbooks, and by undergraduate students. In the issues of inequality, using a range of methods for final third of the class, we will study how social data collection and analysis—datasets from structures are instantiated through the examples of international organizations, surveys, questionnaires, raced and gendered body work in nail salons, historical records, reports and ethnographic housing and environmental justice, and the politics accounts—that they will then compile into research of gay civil rights. In concert with reading these portfolios produced as a group. texts, classwork will also include a series of individual and group projects to learn sociological methods: ethnography, qualitative interviewing, Politics of Health media analysis, and use of quantitative data. The Sarah Wilcox idea of intersections of race, gender, class, and Open, Lecture—Spring sexuality is by now a familiar one, regularly In contemporary American society, “health” is both referenced in college courses, public discussions, highly politicized and seen as apolitical. Health is and political debates. The challenge facing sociology accepted as an unequivocal social good and as a discipline is to see the social world in all of its unquestioned personal aspiration. No one can be complexity: the overarching culture, institutions, and “against health.” At the same time, the structure of public policies that form the structure of the world our health care system and the possibilities for in which we live, the local social worlds within our reform have been the focus of intense political broader society, and how we continually construct debates. In this lecture, we will examine the our social worlds through our interactions with each following kinds of questions: What is health? What is other. Thus, rather than moving from topic to public health? In political and cultural debates about topic—here race, here gender, here religion—in this health, how has the body become the focal point of new kinds of moralisms? Why are there patterns in THE CURRICULUM 151 health, so that some groups live longer and have less theoretically and concretely. The theoretical/ illness than others? Why does the United States conceptual questions raised lend themselves to an spend more on health care than other countries yet analysis of any city; so while many of our readings rank relatively low on many measures of good will be New York City and US-based, the course will health? How likely is it that you will have access to have relevance to cities globally. Students should health care when you need it? Can we make feel free to extend the analysis to other places that affordable health care available to more people? We are of interest to them. This applies particularly to will examine both the social and cultural meanings conference work. of health and the political and policy debates about health and health care. For group conference, Detention, Deportation, students will research a health issue, learn how to find and interpret public health indicators, assess Dispossession: From Incarceration community resources, consider policy options, and to Displacement write and present a health policy brief on the issue Parthiban Muniandy that they’ve researched. Open, Seminar—Fall In her book, Expulsions, Saskia Sassen highlights a Changing Places: Sociospatial globally growing transnational project in which masses of people are being systematically, often Dimensions of Urbanization violently, pushed out of their homelands through Shahnaz Rouse various forms of dispossessions—from land grabs Open, Seminar—Year and development projects to war and environmental The concept of space will provide the thematic pressures. These expulsions are bringing about an underpinning and serve as the point of departure for unprecedented international crisis of displacement, this course on cities and urbanization. Space can be manifesting as refugee and asylum crises, viewed in relation to the (human) body, social trafficking, and otherorms f of undocumented flows relations and social structures, and the physical of people across borders and continents. environment. In this seminar, we will examine the Simultaneously, the politicization of migration has material (social, political, and economic) and become a powerful weapon for conservative, far- metaphorical (symbolic and representational) right, and nationalist populist movements around dimensions of spatial configurations in urban the world to mobilize xenophobic rhetoric against settings. In our analysis, we will address the minorities and immigrant populations, leading to the historical and shifting connotations of urban space worrying reemergence of “strong-man” politicians and urban life. Moving beyond the historical aspects such as Bolsonaro in Brazil, Salvini in Italy, Orban in of urbanization and transformations therein, we will Hungary, Modi in India, and Trump in the United turn our attention to the (re)theorization of the very States. We are increasingly seeing the consequences notion of spatial relations itself. Here, emphasis will of mass displacement and populist nationalism be placed on representational practices and coming to a head in the detention, criminalization, processes whereby social “space” is created, and deportation of people at the borders of, and even gendered, re-visioned. “Space” will no longer be seen within, countries. Throughout this seminar, we will simply as physical space but also in terms of the be examining the history and logics of dispossession construction of meanings that affect our use of, and and displacement and the production of “ghost relation to, both physical and social settings. While populations”—noncitizen and stateless people who economic factors will continue to be implicated and are then subjected to detention and incarceration, as invoked in our analysis, we will move beyond the well as to the threat of deportation. The readings economic to extra-economic categories and and material in the seminar cover a broad range of constructs such as notions of power, culture, and countries and regions, taking a transnational sexuality. The focus will also shift, as the year sociological lens at the structures, institutions, and proceeds, from macroanalyses to include an processes that produce expulsions and displacement examination of everyday life. Through our around the world. Our objective is to gain a better exploration of these issues, we will attempt to gauge understanding of those systems of displacement as the practices and processes whereby social space is interconnected, rather than isolated, outcomes of gendered, privatized, and sexualized and distinctions economic and sociopolitical transformations. are established between “inside” and “outside” domains and between public and private realms. Particular attention will be paid to attempts by scholars and activists to open up space both 152 Sociology Lexicon of Migration: activities, workshops, and projects around the Temporariness and Displacement themes of education, forced migration, and displacement. During the course of the semester, we Parthiban Muniandy will have invited speakers and guest lectures, along Open, Seminar—Spring with other opportunities to connect with classes and What does it mean to be a “temporary” person? The students from the partner colleges. Students will multiple discourses surrounding migrants, refugees, then participate at an annual teaching lab to be “illegals,” and other non-native-born people often hosted at the end of the semester at one of the paint problematic, exaggerated, and frustratingly partner campuses. misunderstood portraits about entire communities and populations. Politicians and movements (often of the far-right disposition) continue to reinforce Intensive Semester in Yonkers: views of the foreigner as a national threat, one that Communities, Knowledge, and will rip apart the fabric of society if left to its own Action: Engaged Research devices. Yet, more than ever, we live in a world Methods in Yonkers where almost 245 million people are living in a country other than where they were born—and that Sarah Wilcox includes millions of refugees and displaced Intermediate, Seminar—Fall populations who struggle under incredibly This course, part of the Intensive Semester in Yonkers vulnerable and precarious conditions. Some 740 program, is no longer open for interviews and million people migrate internally, primarily from registration. Interviews for the program take place rural to urban centers, bringing the total number of during the previous spring semester. migrants to more than one billion people. Here, we Over the past half century, social movements have focus on communities and groups of migrants who increasingly pushed for changes in the production of are often targeted as national “problems”: refugees, knowledge. Whereas most research studies are undocumented persons, and so-called “economic” designed by academics and policy experts, advocates migrants. We start by looking at how different have argued that research agendas, methodology, groups of migrants become categorized through and the dissemination of new knowledge should institutionalized regimes as “temporary” come “from below”—through the inclusion of populations—guest workers, asylum seekers, community members, activists, and nonexperts in all seasonal workers, and foreign workers—and steps of the research process. Examples of examine what implications this temporariness movements that have mobilized on behalf of the imposes upon migrants themselves, both at the democratization of knowledge include everyday level and in terms of the larger political environmentalists, the mental-health consumer/ climate. We will explore the realities of today’s survivor movement, and AIDS activists. In this migrant experience with a special focus on course, we will explore this history and learn temporariness, globalized fragmentation of social methods of community-based participatory action reproduction, and regimes of managed migration research (CBPAR). Some of the principles of CBPAR around the world. Throughout the course, we will be are recognition of communities, equitable reading and discussing some foundation works partnership among all who are involved in research, around temporariness, refugees and forced community involvement in determining research migration, focusing on the key questions of questions and methods, and dissemination of citizenship, rights, and nationalism. As part of research results to all of the partners—and that conference projects, students will be encouraged to research should lead to or support strategic action. imagine different, nonconventional ways of writing Conference work will be based on 10-15 hours of and expressing themes of vulnerability, precarity, fieldwork per week in a community-based temporariness, and being out-of-place. As part of the organization and on developing a proposal for a Consortium on Forced Migration, Displacement, and CBPAR project for your organization. As part of that Education curriculum on the Lexicon of Migration, project, students will practice identifying students in this seminar will be able to connect, community needs and resources and conducting collaborate, and learn from faculty, scholars, and interviews. In addition to learning sociological peers from across the four member colleges at research methods and the principles of CBPAR, Vassar, Bard, Bard Berlin, and Bennington, where students will grapple with the complexities of variants of the lexicon syllabus will be taught community-based work: How are communities simultaneously. This provides students at each defined, and yb whom? Who represents a campus unique opportunities to design and develop community? What happens when there are conflicts or tensions between researchers and community THE CURRICULUM 153 members or when hierarchies of knowledge develop On Whiteness: An Anthropological Exploration (p. 6), within communities or social movements? How can Mary A. Porter Anthropology CBPAR attend simultaneously to immediate needs Telling Lives: Life History Through and actions and to long-term structural change? Anthropology (p. 7), Mary A. Porter Anthropology Travel and Tourism: Economies of Economics of Environmental Justice: People, Place, and Power (p. 37), An Li Economics Pleasure, Profit, and Power Economics of the Environment and Natural Shahnaz Rouse Resources: Market Failures, Capitalism, and Advanced, Seminar—Year Solutions (p. 36), An Li Economics This course takes a long view of travel, seeing travel History of Economic Thought and Economic History: as a “contact zone,” a contradictory site of learning, Economic and Legal Foundations (p. 36), exchange as well as exploitation. Among the Jamee K. Moudud Economics questions the course will address are the following: Intermediate Macroeconomics: Main Street, Wall What are the reasons for travel historically and in Street, and Policies (p. 38), An Li Economics the modern world? What factors draw individuals to Intermediate Microeconomics: Conflicts, travel singly and as members of collectivities? What Coordination, and Institutions (p. 37), An Li sites draw the traveler and/or the tourist? What is Economics the relationship between the (visited) site and the Introduction to Economic Theory and Policy (p. 36), sight of the visitor? How is meaning produced of Jamee K. Moudud Economics particular sites? How do those meanings differ, Legal Foundations to Business History: Corporate depending on the positionality of the traveler? How Governance, Democracy, and Economic and why do particular sites encourage visitors? What Transformation (p. 38), Jamee K. Moudud is the relationship between the visitor and the local Economics inhabitant? Can one be a traveler in one’s own home Introduction to Property: Cultural and Environmental (site)? What is the relationship between travel and Dimensions (p. 40), Charles Zerner tourism, pleasure and power in/through travel? How Environmental Studies are race, gender, and class articulated in and Intermediate French I (Section I): French through travel? These and other questions will be Identities (p. 58), Eric Leveau French addressed through a careful scrutiny of commercial Food, Agriculture, Environment, and (visual and written) writings on travel and tourism; Development (p. 61), Joshua Muldavin diaries, journals, and memoirs by travelers; and films Geography and scholarly writings on travel and tourism. Our Introduction to Development Studies: The Political emphasis will be on an examination of travel and Ecology of Development (p. 63), Joshua tourism in a historical context. In particular, we will Muldavin Geography focus on the commodification of travel as an The Geography of Contemporary China: A Political acquisition of social (and economic) currency and as Ecology of Reform, Global Integration, and Rise a source/site of power. We will study different forms to Superpower (p. 62), Joshua Muldavin of travel that have recently emerged, such as Geography environmental tourism, heritage (historical) tourism, Democracy and Emotions in Postwar sex tourism, as well as cyber travel. Throughout, the Germany (p. 78), Philipp Nielsen History relation between material and physical bodies will Liberation: Contemporary Latin America (p. 77), remain a central focus of the course. Conference Margarita Fajardo History possibilities include analyses of your own travel Making Latin America (p. 72), Margarita Fajardo experiences, examination of travel writings History pertaining to specific places, or theoretical Public Stories, Private Lives: Theories and Methods perspectives on travel and/or tourism. Fieldwork of Oral History (p. 78), Mary Dillard History locally is yet another possibility for conference work. The Problem of Empire: A History of Latin America (p. 75), Margarita Fajardo History Other courses of interest are listed below. Full Engendering the Body: Sex, Science, and Trans descriptions of the courses may be found under the Embodiment (p. 87), Emily Lim Rogers Lesbian, appropriate disciplines. Gay, Bisexual, and Transgender Studies An Introduction to Statistical Methods and Language and Capitalism (p. 7), Aurora Donzelli Analysis (p. 100), Daniel King Mathematics Anthropology 154 Spanish Introduction to Social Theory: Philosophical Tools for Beginning Spanish Critical Social Analysis (p. 117), David Peritz Eduardo Lago Philosophy Open, Seminar—Year Chaos or Calm: The 2020 Elections (p. 125), Samuel The aim of this course is to enable students without Abrams Politics previous knowledge of the language to develop the Democracy, Diversity, and (In)equality (p. 126), skills necessary to achieve effective levels of David Peritz Politics communication in Spanish. From the start, students Moonshots in Contemporary American will be in touch with authentic Spanish-language Politics (p. 124), Shayna Strom Politics materials in the form of newspaper articles, films, Challenges to Development: Child and Adolescent songs, and poems, as well as short literary and non- Psychopathology (p. 140), Jan Drucker literary texts. In the regular class meetings, we will Psychology actively implement a wide range of techniques Global Child Development (p. 136), Kim Ferguson aimed at creating an atmosphere of dynamic oral (Kim Johnson) Psychology exchange. The acquisition of grammar structures Intersectionality Research Seminar (p. 138), will develop from the exploitation of everyday Linwood J. Lewis Psychology situations through the incorporation of a wide set of “Sex Is Not a Natural Act”: Social Science functional-contextual activities. Group conferences Explorations of Human Sexuality (p. 130), will help hone conversational skills and focus on Linwood J. Lewis Psychology individual needs. Both in class and in conference, we Theories of the Creative Process (p. 137), Charlotte L. will explore the multiple resources provided by the Doyle Psychology Internet, retrieving all sorts of textual and visual The Psychological Impact of Art (p. 135), Alison Jane tools. Later, these will be collectively exploited by the Martingano Psychology group. The viewing of films, documentaries, episodes The Social Brain (p. 133), Alison Jane Martingano of popular TV series, as well as the reading of blogs Psychology and digital publications will take place outside the First-Year Studies: From Schools to Prisons: seminar meetings and serve as the basis of class Inequality and Social Policy in the United discussions and debates. Weekly conversation States (p. 141), Luisa Laura Heredia Public Policy sessions with the language assistant are an integral The American Welfare State (p. 142), Luisa Laura part of the course. Heredia Public Policy The Politics of “Illegality,” Surveillance, and Protest (p. 142), Luisa Laura Heredia Public Advanced Beginning Spanish: Pop Policy Culture(s) Media Burn: Moving Image Installation in Heather Cleary Practice (p. 175), Jenny Perlin Visual and Studio Open, Seminar—Year Arts For students who have had some experience with First-Year Studies: Ecopoetry: Poetry in Relation to Spanish but are still laying the foundations of the Living World (p. 179), Marie Howe Writing communication and comprehension, this class will Nonfiction orkW shop: To Tell the Truth (p. 183), cover essential grammar at a more accelerated pace Suzanne Gardinier Writing than in Beginning Spanish. Working with music, visual art, film, and newspaper articles rf om Latin America and Spain, students will develop the ability SPANISH to navigate real-life situations and will expand their vocabulary through group exercises with a Sarah Lawrence College’s courses in Spanish cover communicative focus. Weekly conversation sessions grammar, literature, film, music, and are a fundamental part of this course. Students will translation—all with the aim of making students complete guided conference projects in small groups more capable and confident in thinking, writing, and and also have access to individual meetings to expressing themselves in Spanish. Each of the address specific grammar topics. All students should yearlong courses integrates activities such as panel take the placement test prior to registration; course discussions, lectures, and readings with classroom taught entirely in Spanish. discussion and conference work to provide students with stimulating springboards for research and study. THE CURRICULUM 155 Intermediate Spanish I: Latin Cuban Literature and Film Since America, A Mosaic of Cultures 1959—Vivir y pensar en Cuba Priscilla Chen Isabel de Sena Intermediate, Seminar—Year Advanced, Seminar—Spring This course is intended for students who have had at Cuba has long exerted a disproportionate fascination least one year of college-level Spanish or the for US nationals, perhaps for the world in general. equivalent and who wish to review and expand the The only socialist country in the Western fundamentals of the Spanish language while Hemisphere, Cuba’s relative isolation for decades exploring the rich cultural mosaic of Latin America. after the triumph of the Revolution in 1959 and the We will also pay special attention to oral 57-year (and counting) economic embargo imposed communication and the expansion of new by the United States have exacerbated political vocabulary. And we will explore different writing animosity between Cubans living on the island and formats to create a dynamic dialogue between and the diaspora and have created polarized (and among grammar, literature, and culture to polaroidized) and stereotypical images (black-and- contextualize multiple meanings while increasing white or in technicolor) that either idealize Cuba as a fluency in every aspect of language production. For tropical earthly paradise or denigrate it as a conference, students will have a chance to explore tyrannical dictatorship, a racially integrated island and develop topics related to Hispanic culture. To or a landscape of/in ruins, a socialist utopia or enrich the student’s exposure to the mosaic of Latin nightmarish dystopia leading to massive exodus, and American cultures, we’ll try to take advantage of our the Caribbean gulag (complete with a US high- local resources—such as museums, libraries, and security prison in Guantánamo). This course does not theatre. Students will meet with a language aim exclusively to explore and critique these and assistant once a week in order to practice their other ideas about Cuba, though the context is both speaking and oral comprehension. The course will be inevitable and indispensable to fully understand our taught entirely in Spanish. The Spanish Placement subject(s). We want to focus on tracing the evolution test is recommended for students, especially those of Cuba's literature and film since 1959 and learn who have not taken Spanish at Sarah Lawrence about how Cubans live and think in/about Cuba. (The College. title of the course is the title of a Cuban anthology of essays on Cubans born in and raised with the Intermediate Spanish II: Juventud, Revolution.) The leaders of the Cuban Revolution were young and consummately aware that literature, divino tesoro... film, photography, the visual arts, and popular Isabel de Sena culture (comics, popular or traditional music) were Intermediate, Seminar—Spring extraordinarily useful and effective ways to This course will explore Latin American and Spanish propagate the Revolution at home—especially when literature and film that ocusesf on youth. Readings one considers that 57% of the population was will include 20th- and 21st-century authors from as illiterate—and abroad. We will read a couple of broad a range of countries as possible—as well as foundational essays (Che Guevara, Fernández films—that onsiderc how gender, race, class, and Retamar) and excerpts from speeches (Fidel) in nationality impact how we perceive the young, how order to understand how literature and the arts are they/we are perceived, and how pressing political or ideologically subsumed into the (new) discourse of ideological issues are conveyed or displaced through the nation, how it evolves and changes over several images of youth. We will also review some grammar, decades, how the new reality impacts and leads to mostly aimed at improving writing and expressive reconfigured genres (testimony, “social realism,” skills. Taught entirely in Spanish. Taking the Spanish etc.), and the impact of the fall of the Berlin Wall and Placement Test either in the fall of 2019 or early in the dissolution of the Soviet regime and the the spring is recommended before interviewing for disastrous effect on Cuba (el período especial). We this class. will explore trends since the 1990s—including contemporary and postmodern voices from the island and those of the diaspora (writing back)—as well as how gender and race have been imagined (or not). Taught in Spanish. 156 Theatre Other courses of interest are listed below. Full Productions in the theatre program are descriptions of the courses may be found under the initiated by the theatre department, by the appropriate disciplines. DownStage student producers, and by independent student-run companies. Student-written and/or - Liberation: Contemporary Latin America (p. 77), created work is a primary focus of the program, but Margarita Fajardo History productions of published plays and classical texts Postwar: Europe on the Move (p. 70), Philipp Nielsen are also strongly encouraged. A proposal system for History student-directed, -written, and -devised work within Comparative Literary Studies and Its Others (p. 94), the season’s production schedule emphasizes the Bella Brodzki Literature development of student artists. Auditions for Latin American Literature and Film: Beyond the faculty-, student-, and guest-directed productions Boom (p. 92), Heather Cleary Literature are open to the entire Sarah Lawrence College community. THEATRE Practicum The Sarah Lawrence College theatre program embraces the collaborative nature of theatre. Our Classes provide a rigorous intellectual and practical objective is to create theatre artists who are skilled framework, and students are continually engaged in in many disciplines: actors who design, directors the process of examining and creating theatre. The who write, theatre makers who create projects, program helps students build a solid technique designers who are comfortable with new media, and based on established methodologies while also being puppetry. Students choose from a multidisciplinary encouraged to discover and develop their individual curriculum taught by theatre professionals and may artistic selves. Students may earn credits from include courses with the dance and music faculty, as internships or fieldwork in many New York City well. Theatre students are encouraged to cross theatres and theatre organizations. The Theatre disciplines—both academic and arts—at the Outreach program is a training program using College as they investigate all areas of theatre. The writing, theatre techniques, music, and the visual theatre faculty is committed to active training and arts to address social and community issues. The to learning by doing and have created a program that outreach course has been a vibrant component in stresses the multiple relationships among classic, the curriculum for more than three decades, modern, and original texts. The theatre program encouraging the development of original material examines contemporary American performance and with a special emphasis on cross-cultural diverse cultural and historical influences by using a experiences. Several theatre components include an variety of approaches to build technique and nurture open-class showing or performance in addition to individual artistic directions. Courses include the multiple performance and production Alexander Technique, acting, improvisation, creation opportunities in acting, singing, dance, design, of original work, design, directing, movement, directing, ensemble creation, playwriting, and musical theatre and cabaret performance, technical work that are available to students playwriting, puppetry, stage management, solo throughout the academic year. The College’s performance, vocal training, and Theatre Outreach to performance venues include productions in the take theatre into local communities. Suzanne Werner Wright Theatre and the Frances Ann Cannon Workshop Theatre, as well as work in the student-run DownStage Theatre. Workshops, Curriculum readings, and productions are also mounted in the PAC OpenSpace Theatre, the Film Viewing Room, the Students create an individualized Theatre Third with Remy Theatre outdoor stage, and various other the guidance of their don and the theatre faculty. performance spaces throughout the campus. Components are chosen to extend skills and interests, to explore new areas of the art, and to develop performing and/or practical experience. Students are encouraged to find the links between their academic and arts courses, creating a holistic educational process. THE CURRICULUM 157 First Year Studies: The Art of Ionesco, Jean Anouilh, Edward Albee, Tennessee Comic Performance: Style and Williams, Samuel Beckett, Oscar Wilde, Lynn Nottage, Katoria Hall, Arthur Miller, and Edward Baker. Form Required text: The Art of Acting, by Stella Adler. This Christine Farrell class meets twice a week. Open, FYS—Year It is said that laughter happens “whenever there is a sudden rupture between thinking and feeling,” that Actor’s Workshop: Acting the it is a momentary “anesthesia of the heart.” Kilroys Laughter can be a survival tactic and is often the Kevin Confoy best medicine. What made other generations and Open, Component—Year cultures laugh? What universal elements can we find An on-your-feet acting class, Acting the Kilroys is a in the history of comedy? In the first semester, this script-based approach to acting and performance class will examine historical comedic forms, that uses the works of the Kilroys, “a gang of including: the characters of Commedia dell’Arte of playwrights…who came together to stop talking the 16th century; Xiangsheng (crosstalk), a about gender parity in theatre and start taking traditional Chinese performance art with roots in the action.” Students will perform given scenes written Qing dynasty; and African American folktales, in a variety of styles by female, queer, and trans storytelling applied to black films of the early 20th writers. The course calls for full and unbridled century. Discovering the plot devices, timing, and expression as the foundation of a vital approach to traditions of these representative texts can inform performance and way of looking at theatre. “We the theatre artist in the demands of the actor, make trouble. And plays.” The course is open to director, and writer of comedy. This is a studio class. actors of any and all identities. This class meets Students will work “on their feet” in improvisational twice a week. exercises, as they explore: status games to experience the pace and chaos of farce; the Actor’s Workshop: Acting character constructions from Commedia dell’Arte; the style, language, and manners of Restoration; and Techniques the structures defined yb vaudeville comedians (the Michael Early comic and straight, slow burn, comic stop). What Open, Component—Year makes us laugh? In the second semester, we will This class will explore various techniques designed work on the current long-form improv structures to free the actor physically, vocally, and developed by Del Close, Keith Johnstone, and many of imaginatively. Students will be encouraged to give the present comedy troupes (Second City/UCB/ themselves permission to play, emphasizing process Improv Olympics/Theatresports). We will build an rather than results. Students will be assigned ensemble of comic improvisers to cultivate each monologues and scenes that challenge them to artist’s comedic style. The students will create their expand their range of expression and build the own material, using classic structures and their own confidence to make bold and imaginative acting comic persona. Individual conference meetings will choices. Particular attention will be paid to learning alternate biweekly with small-group conference to analyze a text in ways that lead to defining clear, meetings. specific, and playable actions and objectives. This class meets twice a week. Performance/Acting Acting for Camera Actor’s Workshop: Suit the Action K. Lorrel Manning Intermediate/Advanced, Component—Year to the Word, the Word to the This comprehensive, step-by-step course focuses on Action—Hamlet, III, ii, 17-18 developing the skills and tools that the young actor Faculty TBA needs in order to work in the fast-paced world of Open, Component—Year film and elevision.t Through intense scene study and Students will work on voice work, script analysis, script analysis, we will expand each performer's sensory exercises, a Shakespeare sonnet, cold range of emotional, intellectual, physical, and vocal readings, improvisation, auditioning, and extensive expressiveness for the camera. Focus will also be put scene work from the following playwrights: Sara on the technical skills needed for the actor to give Ruhl, Theresa Rebeck, Susan Yankowitz, Maria Irene the strongest performance “within the frame,” while Fornes, Suzan-Lori Parks, Jean-Paul Sartre, Eugene 158 Theatre maintaining a high level of spontaneity and introduce students to commedia dell’arte, vaudeville, authenticity. Students will act in assigned and self- parody, satire, and standup comedy. At the end of the chosen scenes from film and elevisiont scripts. second semester, each student will write five Students will also be taken through the process of minutes of standup material that will be performed auditioning on-camera for various film and elevisiont one night at a comedy club in New York City and then roles through cold reads, prepared reads, and mock on the College campus on Comedy Night. This class auditions. Also, the course will include exposure to meets twice a week. hands-on experience in the technical aspects of the behind-the-camera process. This class meets once a Contemporary Scene Study week for three hours. K. Lorrel Manning Intermediate/Advanced, Component—Year Acting Shakespeare In this course, students will explore scenes and Michael Early monologues from contemporary playwrights, Intermediate, Component—Year including Lynn Nottage, Lucas Hnath, Annie Baker, Those actors rooted in the tradition of playing Theresa Rebeck, Dominique Morisseau, Kenneth Shakespeare find themselves equipped with a skill Lonergan, Stephen Adley Guirgis, David Henry Hwang, set that enables them to successfully work on a wide Branden Jacobs-Jenkins, Sarah Ruhl, and many, many range of texts and within an array of performance others. Along with an intense focus on script modalities. The objectives of this class are to learn analysis, story structure, and character work, to identify, personalize, and embody the structural students will learn a set of acting tools that will elements of Shakespeare’s language as the primary assist them in making their work incredibly loose, means of bringing his characters to life. Students spontaneous, and authentic. Scenes and monologues will study a representative arc of Shakespeare’s will be chosen by the instructor in collaboration with plays, as well as the sonnets. This class meets twice the students. Open to juniors, seniors, and graduate a week. students. This class meets twice a week.

Breaking the Code Creating a Role Kevin Confoy Faculty TBA Advanced, Component—Year Open, Component—Year This is an acting scene study class that uses a It is a sanctum of discovery, enabling the actor to practical, on-your-feet, script-driven approach to explore non-Western movement—centering energy, performance. Students will tear open and dissect concentration, the voice, and the “mythos” of a given plays to find the clues orf their characters’ character to discover one’s own truth in relation to truths and behaviors, fears and vulnerabilities, and the text, both contemporary and the classics. the tactics and strategies they use to to get what Traditional as well as alternative approaches to they need. Students will act scenes from acting techniques are applied. Fall semester contemporary plays and adaptations. The class is concentrates on roles: Hamlet, Leontes, Caliban, open to both actors and directors. This class meets Othello, Lear, Macbeth, Richard III, Hecuba, Medea, twice a week. Antigone,Lady Anne,Tamara, Portia, Lady Macbeth; spring semester, applied to scene study from works Comedy Workshop by Chekhov, Ibsen, Arrabal, Beckett, Ionesco, Sarah Kane, Amira Baraka, Edward Albee, and Jean Genet. Christine Farrell Required reading: The Art of Acting, by Stella Adler. Intermediate, Component—Year This class meets twice a week. An exploration of the classic structures of comedy and the unique comic mind, this course begins with a strong focus on improvisation and ensemble work. Singing Workshop The athletics of the creative comedic mind is the William D. McRee, Thomas Mandel primary objective of the first-semester exercises. Open, Component—Year Status play, narrative storytelling, and the Harold We will explore the actor’s performance with songs exercise are used to develop the artist’s freedom and in various styles of popular music, music for theatre, confidence. The ensemble learns to trust the cabaret, and original work—emphasizing spontaneous response and their own comic communication with the audience and material madness. Second semester educates the theatre selection. Dynamics of vocal interpretation and style artist in the theories of comedy and is designed to will also be examined. Students perform new or THE CURRICULUM 159 returning material each week in class and have statements, bios, resumes, and websites; develop outside class time scheduled with the musical pitches for new work; and learn how to engage with director to arrange and rehearse their material. funders, artistic directors, and presenters. Through Students enrolled in this course also have priority field esearr ch, embodied laboratories, and creative/ placement for voice lessons with faculty in the professional development, we will build a skill set, music program and enrollment in Alexander network, and knowledge base for supporting our Technique classes or other movement courses of work and engaging with collaborators, organizations, their choosing. This class meets once a week. and audiences. This class meets once a week. Audition required. Directing Workshop Directing, Devising, Performance, William D. McRee Movement & Voice Open, Component—Year Directors will study the processes necessary to bring Digital Devising: Creating Theatre a written text to life, along with the methods and goals used in working with actors to focus and in a Post-Digital World strengthen their performances. Scene work and Caden Manson short plays will be performed in class, and the Open, Component—Year student’s work will be analyzed and evaluated. This class explores the histories, methods, and Common directing problems will be addressed, and futures of ensemble and co-authored performance the directors will become familiar with the creation with a focus on new skills and concepts of conceptual process that allows them to think digital and post-Internet. After an overview of creatively. The workshop is open to beginning historical devising companies, artists, concepts, and directors and any interested student. This class strategies, we will develop skill sets and frameworks meets twice a week. for creating work in a lab setting using the formal aspects of digital and post-Internet performance. Some of the frameworks included are digital time; Directing Brechting avatars and the double event; embodied and Kevin Confoy representational strategies in the uncanny valley; Open, Component—Year staging digital tools, interfaces, and structures; This hands-on directing class offers directors a vital aspects of connectivity, politics, and economics; technique and way of working based upon Bertolt post-Internet materiality; and using code to generate Brecht’s theories of dialectical theatre. Brecht was a and control performances and creation of texts. This social activist. He used theatre to affect change. class meets once a week. Brecht’s plays and techniques changed the way we look at theatre and view the world. His approach continues to shape the way directors dissect text, Contemporary Practice incorporate production elements, and create Caden Manson dynamic theatre productions. Students in Directing Intermediate/Advanced, Component—Year Brechting will use Brecht’s plays and plays by How do we, as artists, engage with an accelerating, contemporary theatre makers that he deeply fractured, technology-infused world? How do we, as influenced—like Larry Kramer, Moises Kaufman, creators, produce our work under current economic Anna Deavere Smith, and Suzan Lori-Parks, among pressures? Contemporary Practice is a yearlong others—for a personalized directing technique built course that focuses on artists and thinkers dealing upon an expansive Brechtian model. Students will with those questions and looks at how we situate direct scenes from chosen plays and create and our practice in the field. During the first semester, mount their own original work; they will act in students will investigate current and emerging scenes directed by their classmates for in-class practices in performing care, contemporary presentations. The class is open to serious directors, choreography, speculative theatre, immersive actors, designers, writers, poets, etc. who are theatre, co-presence, performance cabaret, post- interested in developing an approach to work and to digital strategies, socially engaged art, and mixed theatre that is rooted in activism and social change. reality performance. Classes will be structured This class meets twice a week. around weekly readings/discussions and embodied exercises. During the second semester, students will attend and write about performances in New York City; interview artists; create individual artist 160 Theatre Alexander Technique single sword, and small sword. Students receive training as fight aptc ains and have the opportunity June Ekman to take additional skills proficiency tests, leading to Open, Component—Year actor/combatant status in the Society of American The Alexander Technique is a neuromuscular system Fight Directors. This class meets once a week. that enables the student to identify and change poor and inefficient habits that yma be causing stress and fatigue. With gentle, hands-on guidance and Movement for Performance verbal instruction, the student learns to replace David Neumann faulty habits with improved coordination by locating Open, Component—Fall and releasing undue muscular tensions. This This class will explore the full instrument of the includes easing of the breath and the effect of performer; namely, the human body. A daily warmup coordinated breathing on the voice. It is an will open the body to larger movement ranges while invaluable technique that connects the actor to his introducing students to a better functioning or her resources for dramatic intent. This class alignment, efficient muscle and energy use, full meets once a week. Audition required. Four sections breathing, clear weight transfer, and increased of this class. awareness while traveling through space. A combination of improvisation, contact improvisation, Breathing Coordination for the set phrases, and in-class assignments creating Performer short, movement-based pieces will be used to explore a larger range of articulation that the body Sterling Swann reveals regardless of the words spoken on stage. In Open, Component—Year all aspects, the goals of this class are to enable Students improve their vocal power and ease students to be courageous with their physical selves, through an understanding of basic breathing more articulate with their bodies, and more mechanics and anatomy. Utilizing recent discoveries personally expressive in performance. No movement of breathing coordination, performers can achieve background is required—just a healthy mix of their true potential by freeing their voices, reducing curiosity and courage. In addition to occasional tension, and increasing vocal stamina. In the second reading handouts, there will be opportunities to semester, principals of the Alexander Technique are attend rehearsals and performances of professional introduced; students consolidate their progress by theatre and dance in New York City. Please wear performing songs and monologues in a supportive loose, comfortable clothing. This class meets twice a atmosphere. This class meets once a week. week.

Introduction to Stage Combat Music as Theatre Lab Sterling Swann Stew Stewart Open, Component—Year Open, Component—Year Students learn the basics of armed and unarmed This lab is open to any artists committed to exploring stage fighting, with an emphasis on safety. Actors a variety of music-driven, song-centric, spirit- are taught to create effective stage violence, from derived approaches to music-theatre creation. Music hair pulling and choking to sword fighting, with a as Theatre Lab invites students into an investigation minimum of risk. Basic techniques are incorporated of the work of prophets, faith healers, and wild into short scenes to give students experience politicians—as well as blues, gospel, and old-school performing fights in both classic and modern rock-and-roll artists. Commitment to risk-as-truth, contexts. Each semester culminates in a skills with an eye toward creating pieces and proficiency test aimed at certification in one of eight performances that conjure transcendence, is a weapon forms. This class meets once a week. Two founding principle of the Lab. Students will work in sections of this course. evershifting teams to create and perform short pieces; e.g., scenes, sermons, songs, or situations Advanced Stage Combat that include set and costume designs, choreography, Sterling Swann and video. The Lab will also feature an ongoing Intermediate, Component—Year “compare and contrast” investigation of rock music This course is a continuation of Introduction to Stage and show tunes, with an emphasis on what we have Combat and offers additional training in more to learn about acting and singing effectively from complex weapons forms, such as rapier and dagger, those differences. This class meets once a week for four hours. THE CURRICULUM 161 Voice and Speech I: Vocal Practice Lighting Design I Francine Zerfas Greg MacPherson Open, Component—Year Open, Component—Year This course will focus on awakening the young artist Lighting Design I will introduce the student to the to the expressive range of the human voice, as well basic elements of stage lighting, including tools and as to the intricacies of developing greater clarity of equipment, color theory, reading scripts for design speech and playing with sound. A thorough warmup elements, operation of lighting consoles and will be developed to bring power, flexibility, and construction of lighting cues, and basic elements of range to the actor’s voice and speech. Exercises and lighting drawings and schedules. Students will be text work will be explored, with the goal of uniting offered hands-on experience in hanging and body, breath, voice, and speech into an expressive focusing lighting instruments and will be invited to whole when acting. This class meets once a week for attend technical rehearsals. They will have two hours. opportunities to design productions and to assist other designers as a way of developing a greater Design and Media understanding of the design process. This class meets once a week. Costume Design I Lighting Design II Liz Prince Open, Component—Year Greg MacPherson This course is an introduction to the basics of Intermediate, Component—Year designing costumes and covers ideas about the Lighting Design II will build on the basics introduced language of clothes, script analysis, the elements of in Lighting Design I to help develop the students’ design, color theory, fashion history, and figure abilities in designing complex productions. The drawing. We will work on various theoretical design course will focus primarily on CAD and other projects while exploring how to develop a design computer programs related to lighting design, script concept. This course also covers various design- analysis, advanced console operation, and room techniques, including stitching by machine and communication with directors and other designers. by hand as well as working as a wardrobe technician. Students will be expected to design actual Students will have the opportunity to assist a productions and in-class projects for evaluation and costume designer on one of the departmental discussion and will be offered the opportunity to productions to further their understanding of the increase their experience in design by assisting Mr. design process. No previous experience is necessary. MacPherson and others, when possible. This class Actors, directors, designers and theatre makers of all meets once a week. kinds are welcome. This class meets once a week. Scenic Design Costume Design II Lake Simons Liz Prince Open, Component—Year Intermediate, Component—Year This course introduces basic elements of scenic This course expands upon Costume Design l to hone design, including developing a design concept, and advance existing skill sets in both design and drafting, and practical techniques for creating construction as we cover and review a range of theatrical space. Students will develop tools to topics. Students will explore theoretical design communicate their visual ideas through research, projects, as well as have the likely opportunity to sketches, and models. The class will discuss design a departmental production, further examples of design from theatre, dance, and developing the student’s abilities as they research puppetry. Student projects will include both and realize a design concept for the stage in conceptual designs and production work in the collaboration with the director and design team. department. This class meets once a week. There is a Prerequisite: Costume Design l or by permission of the $50 course fee. instructor. This class meets once a week. 162 Theatre Puppet Theatre interdisciplinary forms. Exercises in sampling, nonlinear editing, and designing sequences in Lake Simons performance software will provide students with the Open, Component—Year basic tools needed to execute sound and projection This course will explore a variety of puppetry designs in performance. Two sections of this class. techniques, including bunraku style, marionette, shadow puppetry, and toy theatre. We will begin with a detailed look at these forms through individual and Advanced Media Design group research projects. We will further our Tei Blow exploration with hands-on learning in various Open, Component—Year techniques of construction. Students will then have This course will prepare students to solve problems the opportunity to develop their own manipulation in video, sound, and multimedia design for live skills, as well as to gain an understanding of how to theatre and performance. We will look at the prepare the puppeteer’s body for performance. The creative use of live video and audio playback and class will culminate with the creation and processing, multichannel sound, and interactive presentation of puppetry pieces of the student’s own performance systems. By creating a cohort of making. This class meets once a week for two hours. designers committed to working on campus theatrical productions, the course will serve to Directing, Devising, and mentor, troubleshoot, and critically analyze Performance theatrical design. Students will be expected to be working on designs for theatre or dance productions David Neumann, Tei Blow or their own solo work. Prerequisites: Intro to Media Open, Component—Year Design, Sound 1, Intro to Projection, or instructor Through the creative reuse of mass media, this consent. This class will meet once a week. Students course is designed to introduce students to a will be required to attend additional technical performance strategy that synthesizes an meetings/rehearsals and design productions over the experimental performance practice from existing course of the year. material. By stripping found media materials from their original context and arranging them in new ways, participants will explore the methods and Playwriting politics of appropriation in performance work. By then extending those techniques into embodied Creative Impulse: The Process of practices, students will experiment with various Writing for the Stage methods of extracting movement, text, and intention Sibyl Kempson from those source materials. Biweekly workshops on Advanced, Component—Year text, sound, and video manipulation in a In this course, the vectors of pure creative impulse collaborative format will alternate with experiments hold sway over the process of writing for the in performance composition and lectures on the stage—and we write ourselves into unknown historical use of appropriation in a variety of art territory. Students are encouraged to set aside forms. Participants should have an interest in both received and preconceived notions of what it means performance and performance technology, though to write plays or to be a writer, along with ideas of experience in either is not a prerequisite. The course what a play is “supposed to” or “should” look like, in culminates in a rehearsal and performance period. order to locate their own authentic ways of seeing This class meets once a week for four hours. Mr. and making. In other words, disarm the rational, the Neumann will teach the fall semester; Mr. Blow will judgmental thinking that is rooted in a concept of a teach the spring semester. final product and empower the chaotic, spatial, associative processes that put us in immediate Intro to Media Design formal contact with our direct experience, Tei Blow impressions, and perceptions of reality. Emphasis on Open, Component—Year detail, texture, and contiguity will be favored over This course serves as an introduction to theatrical the more widely accepted, reliable, yet sometimes sound and video design that explores the theory of limiting Aristotelian virtues of structure and sound, basic design principles, editing and playback continuity in the making of meaningful live software, content creation, and basic system design. performance. Readings will be tailored to fit the The course examines the function and execution of thinking of the class. We will likely look at video and sound in theatre, dance, and theoretical and creative writings of Gertrude Stein, THE CURRICULUM 163

George Steiner, Mac Wellman, Maria Irene Fornes, images, and sensory experiences. “Inspiration exists, Adrienne Kennedy, Mircea Eliade, Kristen Kosmas, but it has to find ouy working.” —Pablo Picasso This Richard Maxwell, and Roland Barthes, as well as class meets once a week. work that crosses into visual-art realms and radical scientific thought rf om physicists David Bohm and F. Experiments in Theatrical Writing David Peat. The course will be conducted in workshop fashion, with strong emphasis on the Melisa Tien tracking and documenting of process. This class Intermediate/Advanced, Component—Year meets once a week for three hours. Two sections of In this course, we will explore, discuss, and write this class. side-by-side with contemporary experimental theatrical texts. What pushes against theatrical traditions and orients outward toward the new and Developing the Dramatic Idea unfamiliar is what we will think of as experimental. Sandra Daley Areas of experimentation that we’ll encounter on our Intermediate, Component—Year yearlong journey will include time, setting, structure, It never ceases to amaze me: the awesome ritual of character, language, and genre. Experimentation live actors bringing words to life, resulting in finds purpose in the notion that departure from laughter, catharsis, and, at best, transformation. theatrical convention is a move toward altering how This magic begins with you, the playwright. an audience responds and reflects upon a Developing the dramatic Idea offers you the play—which, in turn, changes how an audience opportunity to explore what a play can be and what perceives and behaves in the world. We’ll explore the it can mean to write a play. You will investigate the landscape of the plays that we read in terms of how potential and the challenges of playwriting through each play looks, feels, and sounds. We’ll discuss the analysis of existing plays, writing and workshopping cultural, historical, and personal contexts of the your own plays-in-progress, offering constructive plays. We’ll look for ways in which those contexts feedback to your classmates, and effectively revising may inspire and inform our own writing. We’ll your own work. You will develop the skills and generate our own experimental work using the vocabulary to talk about plays and to recognize assigned texts as points of departure, with the structure, story, and content challenges. By the end intention of arriving at a different destination. We’ll of the year, you will have seen plays and read a write from different parts of the brain, from the number of plays and essays on playwriting. You will deeply subconscious to the acutely analytical. We’ll have written several scenes, short plays, and a one- consider how the unique structure of a play can act play. This class meets once a week. derive organically from the story being told. And we’ll examine ways in which modern technology may The Writer’s Gym assist—or hinder—our storytelling. This class meets once a week for four hours (with a half-hour break). Sandra Daley Open, Component—Year This yearlong writing workshop is designed for Playwriting Techniques writers of any genre and any level of experience from Stuart Spencer beginner to advanced. So, whether you’ve never Open, Component—Year written anything before or are an experienced poet You will investigate the mystery of how to release or a playwright looking to perfect your craft, The your creative process while also discovering the Writer’s Gym offers exercises dedicated to fundamentals of dramatic structure that will help inspiration, process, and craft. You will discover you tell the story of your play. Each week in the first story structure and plot and how to introduce term, you will write a short scene taken from The character and conflict. In class, you will write, share Playwright’s Guidebook, which we will use as a basic work, learn how to give feedback, and bravely text. At the end of the first erm,t you will write a discuss your work. Our goal is to build muscle for short but complete play based on one of these short honest and fearless writing based on first instincts assignments. In the second term, you’ll go on to and to write from sources, dreams, and personal adapt a short story of your choice and then write a experiences. We will read and discuss short stories, play based on a historical character, event, or period. essays, poems, and plays. Assignments will The focus in all instances is on the writer’s deepest challenge you to observe what’s around you and the connection to the material—where the drama lies. settings in which you live, writing from prompts, Work will be read aloud in class and discussed in class each week. Students will also read and discuss 164 Theatre plays that mirror the challenges presented by their after-school programs, styles and forms of own assignments. This course meets once a week. community on-site performances, media techniques Two sections of this course. for artists who teach, and work with the Sarah Lawrence College Human Genetics Program. This Playwright’s Workshop class is suited for students new to community work. This class meets once a week. Stuart Spencer Advanced, Component—Year Who are you as a writer? What do you write about, Theatre Outreach: The Theatre and and why? Are you writing the play that you want to the Community write or the play that you need to write? Where is the Allen Lang nexus between the amorphous, subconscious Sophomore and above, Component—Year wellspring of the material and the rigorous demands This course will provide a strong foundation from of a form that will play in real time before a live which to explore and extend teaching and theatre- audience? This course is designed for playwriting making skills in the community. An interest in students who have a solid knowledge of dramatic exploring personally expressive material and in structure and an understanding of their own extending and developing skills is needed. Students creative process—and who are ready to create a will find a practical approach to experiential learning complete dramatic work of any length. (As Edward that builds teaching skills through a weekly Theatre Albee observed, “All plays are full-length plays.”) Outreach placement. Such placements—at schools, Students will be free to work on themes, subjects, libraries, museums, community centers, homeless and styles of their choice. Work will be read aloud shelters—are typically yearlong and usually and discussed in class each week. The course culminate in a process-centered informal requires that students enter, at minimum, with an presentation that is reflective of the interests, idea of the play that they plan to work on; ideally, stories, and experiences of the individual they will bring in a partial draft or even a completed participants. We will explore the applications of draft that they wish to revise. We will read some contemporary sociopolitical and artistic issues of existent texts, time allowing. This class meets twice community work. Class readings and discussions will a week. explore theoretical and practical applications about theatre making and the political role of teaching Theatre Outreach, Theatre History, artists working in the community as agents for and Production social change and social justice. The course is open to all students who want to explore personal material through a sociopolitical lens and to Theatre Outreach: Methods of students interested in responding to the mad politics Theatre Outreach of our time by making a difference—however they Allen Lang can, large or small—through the sharing of theatre Open, Component—Year skills. The course is open to movers and shakers, Developing original, issue-oriented dramatic playwrights, actors, designers, and visual artists. material using music and theatre media, this course Extended class projects in urban areas may include will present the structures needed for community performance in public spaces, creating site-specific extension of the theatre. Performance and teaching videos, recording community oral histories, and groups will work with small theatres, schools, touring. Educator John Paul Lederach asks the artist senior-citizen groups, museums, centers, and to connect with the “moral imagination”—the shelters. Productions and class plans will be made in ability to “stay grounded in the here and now, with consultation with the organizations and our touring all its violence and injustice, while still imaging and groups. We will work with children’s theatre, working toward a more life-affirmingorld. w ” This audience participation, and educational theatre. class meets once a week. Teaching and performance techniques will focus on past and present uses of oral histories and cross- Theatre Outreach: Teaching Artist cultural material. Sociological and psychological Pedagogy Conference Course dynamics will be studied as part of an exploration of the role of theatre and its connections to learning. Allen Lang Each student will have a service-learning team Advanced, Component—Year placement. Special projects and guest topics will This weekly conference course explores the include the use of theatre in developing new kinds of experiential perspectives of the practicing teaching THE CURRICULUM 165 artist, developing teaching skills and techniques History and Histrionics: A History through a yearlong community placement. The of Western Theatre course explores making connections and crossovers between teaching theories and interdisciplinary Stuart Spencer theatre course work that leads toward Open, Component—Year transformative practices. Course readings will You will explore 2,500 years of Western drama to explore the writings of Paulo Freire, M. C. Richards, discover how dramaturgical ideas can be traced bell hooks, and others. “I believe that education, from their origins in fifth-century Greece to 20th- therefore, is a process of living and not a preparation century Nigeria, with many stops in between. We will for future living.” —John Dewey This class meets try to understand how a play is constructed rather once a week; open to graduate students. than simply written and how how each succeeding epoch has both embraced and rejected what has come before it in order to create its own unique NOW PLAYING: Theatre in This identity. We will study the major genres of Western Moment drama, including the idea of a classically structured Kevin Confoy play, Elizabethan drama, neoclassicism, realism, Open, Component—Year naturalism, expressionism, comedy, musical theatre, This is a seminar class that looks at the plays and theatre of cruelty, and existentialism. And we will types of theatre happening right now. Students will look at the social, cultural, architectural, and read scripts from plays being performed across the biographical context to better understand how and country and attend theatre in New York City as a way why they were written as they were. Classroom of figuring out how theatre responds to the events discussion will focus on a new play each week. This that shape our lives even as they occur. A great class meets twice a week. variety of plays and playwrights will be discussed. NOW PLAYING addresses the relevance of theatre in Global Theatre: The Syncretic the 21st century. Do plays matter? Has the form been Journey exhausted? Or is there a need now, more than ever, for what theatre can distinctly provide? Scenes and Mia Yoo, David Diamond portions of plays will be read aloud in class. Students Open, Component—Year will create solo or group performance pieces—of a Good evening, ladies and gentlemen, and welcome to type to be agreed upon in conference—to be La MaMa, dedicated to the playwright and to all presented in class at the end of each semester. This aspects of the theatre. —Ellen Stewart class meets twice a week. La MaMa Experimental Theatre Club in New York City has been the host of contemporary and international Dramaturgy theatre artists for 55 years. You will have the Stuart Spencer opportunity to attend performances, meet the Open, Component—Fall artists, participate in workshops led by them, as well Dramaturgy is a term that refers both to the study of as have access to the La MaMa archives on the dramatic theory as well as to the practical job of history of international theatre in New York. Your working with the creative team of a production to personal “syncretic theatre journey” is enhanced by provide background and information on the play in the observance of fellow theatre makers and oneself question. This class will address both of these that is informed concretely by the application of aspects of dramaturgy. Students will spend roughly text, research, movement, music, design, puppetry, half the time studying dramaturgical theory while and multimedia, as well as social and political simultaneously learning how to do the necessary debate in class. Coordinators of the LaMaMa research, which they will then distill into a concise International Symposium for Directors, David form that can be easily digested by the director, Diamond and Mia Yoo, will host you in New York City, actors, and designers. This class meets twice a week. where you will exchange ideas with visiting and local artists from Yara Arts Group and the Great Jones Repertory Theatre. Historical/contemporary experimental texts will be discussed, such as: Psychosis by Sarah Kane, Death and the Kings Horseman by Wole Soyinka, Strange Interlude by Eugene O’Neill, The Caucasian Chalk Circle by Bertolt Brecht, A Dream Play by August Strindberg, Thunderstorm by Cao Yu, Goshram Kwotal by Vijay 166 Theatre Tendulkar, Venus by Susan-Lori Parks, Ruined by Lynn attending performances; new or unscripted works Nottage, and Mistero Buffo by Dario Fo, as well as will be preceded by examinations of previous work Fernando Arrabal, Antonin Artaud, and Martin Crimp. by the author or company. Students will be given Required reading: TBA. This course is a theatre access to all available group discounts in purchasing history component in the theatre program. This class tickets. This class meets once a week. meets once a week. DownStage The Broadway Musical: Something Graeme Gillis Great Is Coming Sophomore and above, Component—Year Stuart Spencer DownStage is an intensive, hands-on conference in Open, Component—Spring theatrical production. DownStage student producers For some 60 years, roughly from 1920 to 1980, the administrate and run their own theatre company. Broadway musical was in its Golden Age. The They are responsible for all aspects of production, subjects were for adults, the lyrics were for the including determining the budget and marketing an literate, and the music had a richness and depth of entire season of events and productions. Student expression never since equaled in American producers are expected to fill a variety of positions, composition. That music evolved from three both technical and artistic, and to sit as members of separate strands—Jewish, African, and the board of directors of a functioning theatre European—and the libretti sprung from a great organization. In addition to their obligations to class vibrant stew that included vaudeville, burlesque, and designated productions, DownStage producers operetta, minstrel shows, musical comedy-farce, and are expected to hold regular office hours. Prior musical extravaganza. We’ll study how these widely producing experience is not required. This class disparate forms began to coalesce in the 1920s into meets twice a week. the quintessentially brash, toe-tapping, effervescent Broadway form known as “musical comedy.” Then Internship Conference we’ll watch as Oscar Hammerstein II—paired with a Neelam Vaswani new collaborator, Richard Rodgers—revolutionized Intermediate, Component—Year the form with the so-called “integrated musical.” For students who wish to pursue a professional Beginning with Oklahoma!, R&H (as they were internship as part of their program, all areas of universally known) insisted on putting the story first producing and administration are possible: and making the songs—along with everything production, marketing, advertising, casting, else—serve that story. The inevitable apotheosis of development, etc. Students must have at least one their efforts is the musical play of the 1950s, and day each week to devote to the internship. Through we’ll end this section by looking at several of them. individual meetings, we will best determine each Finally, the musical showed yet another face: the student’s placement to meet individual academic “concept musical”—Broadway’s answer to cubist and artistic goals. painting. It took a subject and looked at it from every conceivable angle except one: a plot. We’ll end the year by looking at, among others, Stephen Production Workshop Sondheim’s masterpiece, Company. This course Robert Lyons meets twice a week. Component—Fall and Spring The creative director of the theatre program will Far-Off, Off-Off, Off, and On lead a discussion group for all of the directors, assistant directors, and playwrights participating in Broadway: Experiencing the the fall theatre season (including readings, 2019–2020 Theatre Season workshops, and productions). This is an opportunity William D. McRee for students to discuss with their peers the process, Open, Component—Year problems, and pleasures of making theatre at Sarah Weekly class meetings in which productions are Lawrence College (and beyond). This workshop is analyzed and discussed will be supplemented by part problem-solving and part support group, with regular visits to many of the theatrical productions the emphasis on problem-solving. This course is of the current season. The class will travel within required for directing, assistant directing, and the tristate area, attending theatre in as many playwriting students whose productions are included diverse venues, forms, and styles as possible. in the fall 2019 and spring 2020 theatre program Published plays will be studied in advance of seasons. This class meets once a week. THE CURRICULUM 167 Stage Management before arriving in London. Productions attended will include as wide a variety of venues, styles, and Neelam Vaswani periods of theatre as possible. Seminars will analyze Open, Component—Year and critique the work seen, as well as discover This course is a hands-on laboratory class in the themes, trends, and movement in the contemporary skills, practices, and attitudes that help a stage theatre of the country. Free time is scheduled for manager organize an environment in which a students to explore London and surrounding areas at theatrical team can work together productively and their leisure. These intersession credits are with minimum stress. Classroom exercises and registered as academic, not arts, credits. discussion augment the mentored production work that is assigned to each student. Script analysis, blocking notation, prop management, and cue La MaMa E.T.C. writing/calling are among the topics covered. Intersession—Summer Knowledge of, and practice in, stage management La MaMa E.T.C. sponsors two summer events in are essential tools for directors and useful Umbria, Italy, in conjunction with Sarah Lawrence supplements for actors and designers. This class College: International Symposium for Directors, a meets once a week during fall semester; Spring month-long training program for professional semester is devoted to mentored production directors, choreographers, and actors in which practicums. internationally renowned theatre artists conduct workshops and lecture/demonstrations; and Tools of the Trade International Playwright Retreat, a 10-day program where participants have ample time to work on new Robert Gould or existing material. Each day, master playwright Open, Component—Year Lisa Kron will meet with the playwrights to facilitate This is a stagehand course that focuses on the nuts discussions, workshops, and exercises designed to and bolts of light-board and sound-board operation help the writers with whatever challenges they are and projection technology, as well as the use of facing. More information is available at: basic stage carpentry. This is not a design class but, lamama.org/programs/la-mama-umbria. rather, a class about reading and drafting light plots, assembly and troubleshooting, and basic electrical repair. Students who take this course will be eligible Other courses of interest are listed below. Full for additional paid work as technical assistants in descriptions of the courses may be found under the the theatre department. This class meets once a appropriate disciplines. week. Less is More: On Camera Performance (p. 56), Doug MacHugh Filmmaking and Moving Image Arts Theatre students may be invited to The Actor’s Voice Over: An Intensive Exploration of participate in outside programs, Voice Work (p. 56), Doug MacHugh Filmmaking and Moving Image Arts including: Intermediate French I (Section I): French Identities (p. 58), Eric Leveau French London Theatre Tour Austen Inc.: 18th-Century Women Writers (p. 99), William D. McRee James Horowitz Literature Open, Intersession First-Year Studies: The Forms and Logic of The purpose of this course is to experience and Comedy (p. 91), Fredric Smoler Literature examine present-day British theatre: its practices, History Plays (p. 93), Fredric Smoler Literature playwrights, traditions, theatres, and artists. This is Theatre and the City (p. 91), Joseph Lauinger a two-credit academic course, and any student Literature enrolled at Sarah Lawrence College is eligible to take The Creative Process: Influence and the class. During two weeks in London, students will Resonance (p. 105), Chester Biscardi Music attend a minimum of 12 productions, tour various Theories of the Creative Process (p. 137), Charlotte L. London theatres, meet with British theatre artists, Doyle Psychology attend regularly scheduled morning seminars, and The Psychological Impact of Art (p. 135), Alison Jane make an oral presentation on one of the plays that Martingano Psychology the group is attending. Plays will be assigned prior to Intermediate Spanish II: Juventud, divino the end of the fall semester, and preparation and tesoro... (p. 155), Isabel de Sena Spanish research for the presentation should be complete 168 Urban Studies Advanced Interdisciplinary Studio II (p. 171), John Economics of the Environment and Natural O’Connor Visual and Studio Arts Resources: Market Failures, Capitalism, and Media Burn: Moving Image Installation in Solutions (p. 36), An Li Economics Practice (p. 175), Jenny Perlin Visual and Studio Introduction to Economic Theory and Policy (p. 36), Arts Jamee K. Moudud Economics Performance Art (p. 172), Clifford Owens Visual and Legal Foundations to Business History: Corporate Studio Arts Governance, Democracy, and Economic First-Year Studies: Ecopoetry: Poetry in Relation to Transformation (p. 38), Jamee K. Moudud the Living World (p. 179), Marie Howe Writing Economics Poetry: What Holds the Unsayable (p. 186), Marie First-Year Studies: Introduction to Environmental Howe Writing Studies: Cultures of Nature (p. 39), Charles Zerner Environmental Studies Introduction to Property: Cultural and Environmental Dimensions (p. 40), Charles Zerner URBAN STUDIES Environmental Studies Diversity and Equity in Education: Issues of Gender, Urban studies is dedicated to the study of cities Race, and Class (p. 78), Nadeen M. Thomas across disciplines, focusing on the fabric of cities History and the culture, society, and economy particular to Standing on My Sisters’ Shoulders: Rethinking the cities and to those who live within them. Some of the Black Freedom Struggle (p. 73), Komozi topics that urban studies may explore are the Woodard History histories of cities; space, design, and power; cities An Introduction to Statistical Methods and and suburbia; the city and the country; megacities; Analysis (p. 100), Daniel King Mathematics casino urbanization; cities remembered (memoirs Introduction to Social Theory: Philosophical Tools for based on urban space); and cities of the future (real Critical Social Analysis (p. 117), David Peritz and science-fiction cities). Among the many themes Philosophy addressed in urban studies are space and sociability, Chaos or Calm: The 2020 Elections (p. 125), Samuel including urban planning, public and private space, Abrams Politics social relations and structures, the right to city Democracy, Diversity, and (In)equality (p. 126), space, gender and power, urban social movements, David Peritz Politics and public art. Among the many disciplines that Global Child Development (p. 136), Kim Ferguson offer courses related to urban studies are (Kim Johnson) Psychology anthropology, architecture, economics, Food Environments, Health, and Social environmental studies, politics, public policy, and Justice (p. 136), Magdalena Ornstein-Sloan sociology. Psychology Courses offered in related disciplines this year are Advanced Research Seminar (p. 139), Meghan listed below. Full descriptions of the courses may be Jablonski , Elizabeth Johnston , Linwood J. Lewis found under the appropriate disciplines. Psychology Changing Places: Sociospatial Dimensions of How Things Talk (p. 5), Aurora Donzelli Anthropology Urbanization (p. 151), Shahnaz Rouse Sociology Language and Capitalism (p. 7), Aurora Donzelli Lexicon of Migration: Temporariness and Anthropology Displacement (p. 152), Parthiban Muniandy Life, Death, and Violence in (Post)Colonial France Sociology and Algeria (p. 6), Robert R. Desjarlais Media Burn: Moving Image Installation in Anthropology Practice (p. 175), Jenny Perlin Visual and Studio The Anthropology of Images (p. 5), Robert R. Arts Desjarlais Anthropology The Ideas of Photography (p. 176), Joel Sternfeld Spaces of Exclusion, Places of Belonging (p. 7), Visual and Studio Arts Deanna Barenboim Anthropology The New Narrative Photography (p. 176), Joel Lift Up Your Hearts: Art and Architecture of the Sternfeld Visual and Studio Arts Baroque—Europe and Its Colonies, First-Year Studies: Ecopoetry: Poetry in Relation to 1550–1700 (p. 10), Joseph C. Forte Art History the Living World (p. 179), Marie Howe Writing Economics of Environmental Justice: People, Place, Our World, Other Worlds (p. 180), Myra Goldberg and Power (p. 37), An Li Economics Writing THE CURRICULUM 169 VISUAL AND STUDIO ARTS In addition to these resources, the Visiting Artist Lecture Series brings a wide range of The visual and studio arts program is dedicated to accomplished artists to campus for interviews and interdisciplinary study, practice, experimentation, artist talks. In a feature unique to the program, and collaboration among young artists. Students faculty routinely arrange for one-on-one studio focus on traditional studio methods but are critiques between students and guest faculty or encouraged to bridge those ideas across disciplines, artists who are visiting campus through the lecture including experimental media and new techniques. series. Art vans run weekly between campus and The program offers courses in painting, drawing, New York City museums and galleries. Visual-arts printmaking, photography, sculpture, video art, students typically hold internships and installation, creative programming, interactive art, assistantships in artist studios, galleries, museums, interventionist art, games, and simulation. Students and many other kinds of arts institutions throughout pursue a multidisciplinary course of study while the city. gaining proficiency in a wide range of methods and materials. Working within a liberal-arts context, First-Year Studies: The Way Things students are also encouraged to form collaborations Go across fields of practice and often work with John O’Connor musicians, actors, and scenic designers, as well as Open, FYS—Year biologists, mathematicians, architects, philosophers, The title of this course is borrowed from the 1987 art or journalists. Conference work, senior show, and film yb Peter Fichli and David Weiss, which follows a senior thesis allow the integration of any sequence of causal interactions in a Rube Goldberg- combination of fields of study, along with the like way. Each object and action affects the next, as opportunity for serious research across all areas of the piece evolves over space and time and with great knowledge. sensory range. In this interdisciplinary studio FYS The Heimbold Visual Arts Center offers facilities course, students will be asked to consider their own for woodworking, plaster, printmaking, painting, art-making practice as an interconnected group of video making, and installation. Advanced studios acts that evolve over time. Ideas in any creative offer individual work areas. In addition to art studios, endeavor rarely arrive fully formed, but creativity, students have access to critique and presentation understanding, and clarity come through committed rooms and exhibition spaces, including a student-run engagement with the act of making. All of our gallery titled A* Space. Courses are taught in the senses contribute to the way we understand the traditional seminar/conference format, with studio world around us and, consequently, inform how and classes followed by one-on-one conferences with why we make art. When we see something we’re faculty. All students are encouraged to maintain a excited by, we simultaneously hear, smell, or feel presence through social media and are especially something else—which, in turn, affects our initial encouraged to supplement their work in studio point of view. This sensory interconnectedness will through participation in the program’s ongoing serve as our course’s foundation, and students will series of special topic workshops—small three-to- delve deeply into ways of translating the raw data of five session mini-courses that cover current thought experience into art. To do so, you will be asked to in art theory, discipline-specific undamentf als, new develop a rigorous studio practice and to work technologies, and professional practices. Past across a full range of mediums—drawing, painting, workshops have included woodworking, fiber arts, sculpture, installation, performance, video, metalwork, printmaking, letterpress, figure drawing, photography, sound. Each work will inform the next printing for photographers, creative coding, virtual as your ideas are translated across mediums. As we reality, MAX/MSP, online portfolio design, writing an progress through the year, your artworks will evolve artist’s statement, navigating the art world, the art in unexpected ways, challenging you to recognize of critique, applying for grants, and more. Students their potential to affect your subsequent actions. who invest significant time in the program are This class will alternate biweekly conferences with encouraged to apply for a solo gallery show in their biweekly small-group activities, including project senior year and may take on larger capstone projects and conference work critiques, attendance at the through a yearlong, practice-based senior thesis. Visual and Studio Arts Lecture Series, museum/ gallery tours, and visits to artist studios in the New York City area. 170 Visual and Studio Arts Beginning Painting Painterly Print Yevgeniya Baras Vera Iliatova Open, Seminar—Fall and Spring Open, Seminar—Fall Technical exploration, perception, development of This course is a foray into the possibilities of ideas, intuition, invention, representation, and painterly printmaking and experimental processes communication are at the core of this class. We will that merge printmaking with painting and drawing. begin the course in an observational mode, The course will also cover fundamentals such as introducing practical information about the basic drawing and color mixing. As a means to fundamentals of painting: color, shape, tone, edge, explore their individual ideas, students will composition, perspective, and surface. We will paint investigate a wide range of possibilities offered by still lifes and transcribe a masterwork. We will look monoprint techniques and will experiment with inks at the work of both old masters and contemporary and paints, stencils, multiple plates, and images painters. We will also take a trip to a museum to look altered in sequence. Students will begin to develop a at paintings “in the flesh.” The course will include method to investigate meaning, or content, through demonstrations of materials and techniques, slide the techniques of painterly printmaking. There will presentations, films and videos, eadingr materials, be an examination of various strategies that homework assignments, and group and individual fluctuate between specific in-class assignments and critiques. In the second half of the course, we will individual studio work. In-class assignments will be complete a series of projects exploring design supplemented with PowerPoint presentations, principles as applied to nonobjective (abstract) reading material, film clips and video screenings, artworks. Using paint, with preparatory collages and group critiques, homework projects, and visits to drawings, we will engage with strategies for utilizing artist studios. nonobjective imagery toward self-directed content. Each week will bring a new problem, with lessons Relief Printmaking culminating in independent paintings. Projects will emphasize brainstorming multiple answers to visual Vera Iliatova problems over selecting the first solution that omesc Open, Seminar—Spring to mind. The last part of the class will be devoted to This course is designed to introduce students to a a personal project. Students will establish their range of relief printing techniques while assisting theme of interest, which they will present during our them in developing their own visual imagery through conference meetings. Then, they will carry out the language of printmaking. Students will work research and preparatory work and develop either a with linoleum and woodblock materials. Students large-scale painting or a series of paintings. will develop drawing skills through the printmaking Drawings in this class will often be produced in medium and experiment with value structure, tandem with paintings in order to solve painting composition, mark-making, and interaction of color. problems and illuminate visual ideas. Revisions are a Students will explore the history of printmaking natural and mandatory part of the class. The media, the evolution of subject matter and majority of our time will be spent in a studio/work technique, and the relationship of graphic arts to the mode. The studio is a lab where ideas are worked out methods of mechanical reproduction. Course and meaning is made. It is important that you are objectives will include becoming familiar with using curious, that you allow yourself to travel to a print shop, printing an edition, talking critically unexpected places, and that you do not merely rely about one’s work, and developing a process of visual on skills and experiences that are already part of you story telling. The course will be supplemented with but, rather, challenge yourself to openness and technical demonstrations, critiques, field trips, and progress. The process will be part critical thinking, slide lectures. part intuition, and in large part physical labor. Working rigorously during class and on homework Advanced Interdisciplinary Studio assignments is required. The goal of this class is to I establish the roots of a healthy and generative Vera Iliatova personal studio practice. You will also strengthen Intermediate/Advanced, Seminar—Fall your knowledge of art history and take into This course is intended for advanced visual-arts consideration the wider cultural, historical, and students interested in pursuing their own art- social contexts within which art is being made today. making processes more fully. Students making work in painting, drawing, sculpture, video, mixed media, performance, etc. are supported. Students will THE CURRICULUM 171 maintain their own studio spaces and will be The Body, Inside Out: Drawing and expected to work independently and creatively and Painting Studio to challenge themselves and their peers to explore new ways of thinking and making. In the fall John O’Connor semester, students will be given open-ended Intermediate, Seminar—Fall prompts from which they will be asked to This will be a rigorous art course that explores the experiment with how they make work and will be theme of the body in transformative ways and encouraged to work across mediums. The fall across the mediums of drawing and painting. The semester portion of the course will serve as a figure will be our main subject, and in-class work preparation for the spring semester, when students will be designed to provoke students to investigate will focus exclusively on their own interests and will the body physically, psychologically, emotionally, be expected to develop a sophisticated, cohesive scientifically, and socially. We will paint and draw body of independent work accompanied by an from live models, from ourselves, and across other artist’s statement and exhibition. We will have diverse media sources. For context, we will look at regular critiques, readings, image discussions, and depictions of the figure from prehistory through trips to artist studios and will participate integrally contemporary art, as issues of the body in space and with the Visual Arts Lecture Series. This will be an the dynamic between the artist and model are immersive studio course for disciplined art students extremely relevant in today’s art world. Through interested in making art in an interdisciplinary direct, immersive observation and imaginitive environment. Open to juniors and seniors with interpretation, the works you make will be extensive prior visual-art experience. Please bring stylistically varied, experimental, and exploratory. examples of your work to the interview. Students You’ll be asked to challenge the conventional interested in senior exhibitions are encouraged to dynamic between drawing and painting and, in doing interview. so, push yourselves to make works that defy easy categorization and question the norms of traditional figurative art. Studio practice will be reinforced Drawing into Painting: A Sense of through discussion, written work, readings, and Place image lectures for context. Trips to see exhibitions Vera Iliatova and artist studios will be an integral component of Intermediate/Advanced, Seminar—Spring the class, and attendance at the Visiting Artist To look at a place closely, to spend time with it while Lecture Series is mandatory. Course preference will drawing or painting it is, in a sense, to own it. In this be given to those who have painting and/or drawing course, students explore their own sense of place in experience. the different locations around Sarah Lawrence College. Students will travel to various destinations Advanced Interdisciplinary Studio to collect source materials, such as drawings, II photographs, written notes, and painting sketches; they will work on larger and more complex drawings John O’Connor and paintings in the studio. Through quick studies Advanced, Seminar—Spring and finished paintings, students will observe and This is a continuation of the fall-semester course create an intimate relationship with their chosen and is intended for advanced visual arts students landscape motifs. Throughout the semester, interested in pursuing their own art-making students will work both large and small, both quickly processes more fully. Students making work in and slowly. Some paintings will take a few minutes, painting, drawing, sculpture, video, mixed media, and some will take several days. The course performance, etc. are supported. Students will emphasizes fundamentals of drawing and painting, maintain their own studio spaces and will be as well as the formal, cultural, and political expected to work independently and creatively and connotations that a landscape genre can contain. to challenge themselves and their peers to explore The course is supplemented with keynote new ways of thinking and making. During this spring presentations, class critiques, and field trips. semester, students will focus exclusively on their own interests and will be expected to develop a sophisticated, cohesive body of independent work accompanied by an artist’s statement and exhibition. We will have regular critiques, readings, image discussions, and trips to artist studios and will participate integrally with the Visual Arts Lecture 172 Visual and Studio Arts Series. This will be an immersive studio course for cut stencils, printing multiple layers, and using disciplined art students interested in making art in photosensitive emulsion to create both hand-drawn an interdisciplinary environment. Open to juniors and images and digitally-based ones, utilizing text, half- seniors with extensive prior visual-art experience. tone dots, and CMYK separation. Students will be Please bring examples of your work to the interview. encouraged to independently explore subject matter, Students interested in senior exhibitions are ideas, and aesthetic modes of their own choosing as encouraged to interview. we develop an accumulative understanding of technical knowledge. The course’s goal will be to Performance Art master the process of silkscreen in service of developing a sophisticated language using this Clifford Owens versatile medium. Open, Seminar—Spring Since the early 20th century, artists have explored performance art as a radical means of expression. In Narrative, Printmaking, and Artist both form and function, performance pushes the Books boundaries of contemporary art. Artists use the Nicole Maloof medium for institutional critique, social activism, Open, Seminar—Spring and to address the personal politics of gender, In this course, we will explore different ways in sexuality, and race. This course surveys performance which narrative can be achieved through art as a porous, transdisciplinary medium open to conventional and experimental applications of students from all disciplines, including painting, printmaking and bookmaking. How is a story told in a drawing, printmaking, photography, sculpture, video, single panel? Over a series of pages? How might filmmaking, theatre, dance, music, creative writing, conventional means of storytelling be subverted and and digital art. Students will learn about the history abstracted, stories retold? How do the formal of performance art and explore some of the choices in making an object affect the way a concepts and aesthetic strategies used to create narrative unfolds? Does a story always require works of performance. Drawing on historical and words? And does the form of a book always imply critical texts, artists’ writings, video screenings, and narrative no matter how abstract its content? Over slide lectures, students will use a series of simple the course of the semester, a variety of basic prompts to help shape their own performance printmaking processes will be covered—including artworks. Artists and art movements surveyed in this monotype, silkscreen, and relief cut—along with an class include Dada, Happenings, Fluxus, Viennese assortment of bookbinding techniques, including Actionism, Gutai Group, Act-Up, Joseph Beuys, Judson simple folding, pamphlet binding, accordion binding, Church, Womanhouse, Ana Mendieta, Gina Pane, Japanese stab binding, coptic binding, and other Helio Oiticica, Jack Smith, Leigh Bowery, Rachel types of stitching that can be employed. Students Rosenthal, Jo Spence, Chris Burden, Vito Acconci, Bas will be asked to produce both one-of-a-kind artist Jan Ader, Terry Adkins and the Lone Wolf Recital books and easily reproducible books to then be Corps, Carolee Schneemann, Martha Wilson, Adrian distributed on the Sarah Lawrence College campus. Piper, Martha Rosler, Lorraine O’Grady, Joan Jonas, Karen Finley, Janine Antoni, Patty Chang, Papo Colo, Paul McCarthy, Matthew Barney, Ron Athey, Orlan, Architectural Design Studio: Guillermo Gomez Pena, Narcissister, Annie Sprinkle, Collecting, Combining, Collaging Vaginal Davis, Kris Grey, Carlos Martiel, Autumn Architecture—and Other Acts of Knight, Amanda Alfieri, Hennessey oungman,Y Radical Reuse Savannah Knoop, Shaun Leonardo, Francis Alys, Ivi Diamantopoulou Andrea Fraser, Tania Bruguera, Zhang Huan, Regina Open, Seminar—Fall Jose Galindo, Aki Sasamoto, Pope.L, and many more. This one-semester studio will provide an introduction to design in the built Silkscreen Printing environment—from objects to spaces, buildings, and Nicole Maloof campuses—through the lens of reuse. At a time of Open, Seminar—Fall both unprecedented clutter and increasing scarcity, In this semester-long course, we will cover the we will take on design as an act of negotiation fundamental techniques of silkscreen printing, a regarding what is found, what is available, and what form of printmaking that utilizes and expands upon is imagined. In other words, we will make the simple concept of the stencil. This course will architecture from the architecture that surrounds cover a range of basic techniques, including hand- us: harness its materials, reimagine its form, and THE CURRICULUM 173 consider its use. Students will begin the semester The Tool and the Staff: Sculpture doing field esearr ch on local spaces and spatial and Ritual conditions, working through fundamental issues of scale and representation to establish the base Kenneth Tam material for individual design projects. From there, Open, Seminar—Fall and Spring we will outline a basic design methodology, This one-semester class will look at sculptural combining material research with investigations into practice through the lens of ritual. How does form, organization, and program. In all areas of sculpture influence the social space in which we live design, students are encouraged to think through and come to aid in the way we move through life? critical, precise, and—perhaps in some How can objects bridge the gap between profane ways—irreverent acts of reuse as a means through and sacred space and serve as a marker for various which to propose new and possible futures for the points of transition and uncertainty in human worlds around us. Experience with drawing, existence? In this class, we will try to answer some modeling, and other analog or digital design media is of these questions through projects that will use helpful but not required. object-making and discussions about contemporary sculpture as our primary points of reference. Wood, plaster, metal, and casting techniques will be Architectural Design Studio: introduced as ways of working sculpturally. Students Animating Fragments —From do not need experience with any of these disciplines Waste Streams to the Public to take part in this class, though a high degree of Realm curiosity and self-motivation will be required to do well. As part of the class, we will look at various Ivi Diamantopoulou texts that speak to the way ritual creates meaning Open, Seminar—Spring and richness in life while, at the same, comparing it This one-semester studio will provide an to canonical writings on sculpture in order to look for introduction to design in the built potential overlaps between contemporary art and environment—from objects to buildings to public ritual studies. Students should expect a rigorous spaces—through the lens of reuse. In this vibrant semester that combines artistic experimentation time of architecture production in New York City, the and critical thinking skills. Some artists at whom we byproducts of high-end construction are piling up. will be looking include Nari Ward, Doris Salcedo, Mike We will investigate that waste, including discarded Kelley, Cildo Meireles, Ana Mendieta, Jason Rhoades, materials and full-scale mockups, to understand Janine Antoni, Matthew Barney, and others. how we might give it new life. Simultaneously, we will explore the city’s proliferating network of open and accessible green spaces in order to imagine new Introduction to Digital Imaging kinds of symbiotic relationships between the two Shamus Clisset through the design of accessory structures that tap Open, Seminar—Fall into those waste streams. Students will begin the This course covers contemporary digital practice, semester researching the production of urban with an emphasis on Photoshop skills and imaging developments and open-air public spaces in New techniques from scanning to printing. Proper digital York City, which will establish the base material for workflow is the focus while working through the individual design projects. From there, we will basics of image manipulation tools, color correction, outline a basic design methodology, combining and retouching. The skills covered will build a solid building technology with community needs and basis for further exploration of photography, fine-art investigations into typology, form, and program. In printing, and more radical digital experiments. The all areas of design, students are encouraged to think broader classroom discussion emphasizes computer- through critical, precise, and irreverent acts of reuse generated and -manipulated imagery as a new as a means through which to propose new and paradigm in contemporary art, photography, and possible futures for the worlds around them. culture in general. Students are encouraged to Experience with drawing, modeling, and other analog explore the potential of digital tools in the context of or digital design media is helpful but not required. their personal work—visual arts-related or otherwise—stressing open-ended visual possibilities, as well as technical and conceptual rigor. 174 Visual and Studio Arts 3D Modeling that make pictures; today, their ongoing experiments with software, linkages, and weird bizarro Shamus Clisset contraptions have become a core aspect of the Open, Seminar—Spring studio’s relationship to technology. While many This course introduces students to the process of drawing machines look backward through history for constructing digital objects and environments in the ideas about mechanized art, contemporary projects virtual space of the computer. Emphasis will be on a are often based on computer programs that engage strong grasp of form, space, and composition. programming as an artistic practice. Part code and Fundamentals of hard-edge and organic surface part cardboard, this class studies the history of modeling will be thoroughly exercised, while further drawing machines and uses recycled materials to exploration of the digital tools will cover shading and make gadgets that draw. texturing, lighting, and rendering with the virtual camera. Over the course of the semester, students will be challenged to create increasingly complex Beginning Games: Level Design objects, environments, and imagery. Through Angela Ferraiolo readings and discussion, students will also be Sophomore and above, Small seminar—Fall encouraged to consider the conceptual ramifications This is a guided code and tutorial class designed to of working in computer space. Contemporary introduce students to the basic tools, concepts, and examples of computer-generated imagery in art, techniques used in game development, including film, and media—juxtaposed with historical views programming basics, game art, sound effects, music, on visual illusion from art and philosophy—will form narrative design, zones, bounds, player path, and a broader context in which to examine the medium. game mechanics. Taught in Unity 2D/C#, with Pyskel, Tiled, and LMMS Studio. Art From Code Angela Ferraiolo New Genres: Cultural HiJack Open, Seminar—Fall Angela Ferraiolo A “live coding,” practice-based introduction to visual Sophomore and above, Small seminar—Fall arts programming—including color, shape, Is art the new politics? Cultural HiJack examines the transformations, and motion—this course is work of artists attempting to subvert, critique, and designed for artists with little or no prior overthrow the dominant paradigm through street programming experience. We’ll meet twice weekly to art, anti-advertising, meme wars, flash mobs, instant code together live, working on short, in-class theatre, guerilla projection, and spatial intervention. exercises within a larger analysis of the social, Artists surveyed include Guerrilla Girls, RTMark, cultural, and historical nature of programming Rosler, Holzer, Marchessault, Banksy, Fairey, Acconci, cultures. All students will be required to keep a and Franco and Eva Mattes, along with readings from sketchbook and participate in installation. Artists Dery, Klein, Debord, Gramsci, Lacy, and others. include Molnár, Nees, Hertlein, Rauschenberg, and Working individually or in small groups, students will others. Taught in Processing/Java. collaborate on campaigns of détournement, designing and implementing inventions of their own New Genres: Drawing Machines through alternative and hybrid forms. Angela Ferraiolo Open, Seminar—Spring Intermediate Games: Radical In 2016, So Kanno and Takahiro Yamaguchi used Game Design skateboards and pendulums to create “The Angela Ferraiolo Senseless Drawing Bot,” a self-propelling device that Sophomore and above, Small seminar—Spring sprays abstract lines on walls. Meanwhile, François From Hopscotch to MolleIndustria, game designers Xavier Saint Georges used power tools to create “The have used play as a means of imprinting culture and Roto,” a small circular machine that prints orbital subverting power. Games are small and viral. They graphite patterns on flat surfaces. In 2011, Eske Rex, emerge and disappear. They grip the online world a designer in Copenhagen, built two nine-foot towers obsessively or blend seamlessly into the to stage a double harmonograph for Milan Design underground. Above all, games are easily dismissed Week. Joseph Griffiths usesx e ercise bikes. Alex by authority, making them an ideal means of Kiessling uses robot arms. Olafur Eliasson simply spreading social and political dissonance. This class vibrates balls, covered in ink, across paper. For surveys radical game design as practiced by artists centuries, artists have been obsessed with machines like MoilleIndustria, Anne Marie Schleiner, Natalie THE CURRICULUM 175

Bookchin, Donna Leishman, Eddo Stern, Ian MacLarty, comes from the 1975 performance by the San and others. We will also consider the historical roots Francisco-based art collective Ant Farm, of radical design—which finds its beginnings in https://www.eai.org/titles/media-burn) Dada, Surrealist, Fluxus, and Situationist games—and play methods explored by artists like Intermediate Photography George Brecht, John Cage, and William Burroughs. Taught in Unity 2D/C#, with Pyskel, Tiled, and LMMS Justine Kurland Studio. Prerequisite: Beginning Games: Level Design. Open, Seminar—Year This course is designed to introduce new working methods, with an emphasis on experimentation. New Genres: Interactive Art Students are encouraged to broaden and deepen Angela Ferraiolo their skills and knowledge of photographic Sophomore and above, Small seminar—Spring techniques and to explore ideas and the overarching This course focuses on the technologies behind concepts that inform them. Through a series of interactive installation. Students will work on live readings and assignments, students will develop visuals, as well as multiple types of media, to create their own program of study as they consider dynamic art works. Artists surveyed are Ikeda, influences, observations, and invention. These Rokeby, Benson, Liddell, TeamLAB, and others. Taught dynamic themes include: working within a field of in Processing/Java with LEAP, Kinect, sensors, and influence; subjective freedom versus objective cameras. Prerequisite: Art From Code. authenticity; the roll of documentary and conceptual approaches to photography; perception, observation, Media Burn: Moving Image and emotion; and photography as event and narrative. We will be guided by historical precedents Installation in Practice and will incorporate research into our studio Jenny Perlin practice. Students will be introduced to ideas of Open, Seminar—Year installation, book layout, editing, and sequencing This yearlong production seminar investigates through bibliomaniac explorations and gallery/ histories, strategies, and concepts related to the museum visits. Students will be expected to work production and exhibition of moving-image independently outside of class. During class time, we installation. Over the year, students will investigate will be sharing critiques and class discussions and the histories of moving-image installation and view slide presentations of artists’ work. Students create their own works of time-based art. We will will develop a cohesive and original body of look at artworks that use moving images, space, photographs and develop a generative practice sound, loops, performance, site-specificity, chance based on making, thinking, and remaking. operations, multiple channels, and games as tools for communicating ideas. In the fall semester, our work will be inspired by close readings of specific Problems in Photography seminal artworks in installation from the late 1960s Lucas Blalock to the present, including pieces that utilize feedback Open, Seminar—Year loops, multiple projections, home movies, and new This class will deal with the ways that contemporary technologies. Students will learn craft and concept artists working in photography discover and develop simultaneously through collaborative and individual the problems central to their work. Looking at the production. Spring semester, we will engage with our work of a single artist—or even a single work by an own concepts and ideas of how time-based artist—will provide an opportunity to unearth and installation can be activated. Site-specificity, social understand the influences and histories on which practice, and interdisciplinary projects are that work depends. We will use these encounters to introduced, and students are encouraged to connect help focus and understand our own picture making. their conference in this class to collaborations in This is an art class and will be centered on student theatre, dance, sculpture, painting, and academics. work and critique; however, students should expect Conference works involve research, craft, and reading and looking assignments, as well. Previously, rigorous conceptual and technical practice and are this class was taught as a survey; this time, it will presented in exhibitions at the end of each semester. deal more singularly with questions in photography. A component of the class will take place outside the The first semester will oscillate between classroom at museums, galleries, nonprofits, explorations of specific projects from art history and performance spaces, and historic sites in and around contemporary practice, followed by related New York City. (The title of this class, Media Burn, assignments and critique. The second semester will open up some, and students will be encouraged to 176 Visual and Studio Arts develop independent projects in photography. An an accompanying text—and perhaps in conjunction interest in art history and basic knowledge of DSLR with political or poetic conceptual strategies—any cameras, inkjet printing, and Adobe Photoshop is statement at all becomes possible. Then, encouraged. photographs begin to function as a sentence, a paragraph, or an even larger discourse. Whether Black-and-White Analog working in fiction or nonfiction, artists such as Alan Sekula, Robert Frank, Susan Meiselas, Taryn Simon, Photography Jim Goldberg, Roni Horn, and others have Justine Kurland transformed the reach of the photograph. Without Open, Seminar—Fall formal agreement to do so, they have created a new This course explores the camera as a device that medium, which might be entitled: The New Narrative frames and translates three-dimensional space onto Photography. In this course, students will study the a two-dimensional surface. Through assignments work of these artists and others and will create their and individual investigation, students acquire a own bodies of work. If you have a story to tell or a deeper understanding of visual perception and statement to make, this course is open to you. No photography as a medium for personal expression. previous photographic experience is necessary nor is The course introduces students to film-based any special equipment. The opportunity to work in a photographic processes and assumes no prior new medium is rare. This course aims to create the knowledge of photography. The class will also cover forum and the conditions necessary for all to do so in some history of photography, basic critical theory, a critical and supportive workshop environment. and critique. Students are expected to spend approximately $300 dollars for supplies. The Ideas of Photography Joel Sternfeld Basic Analog Black-and-White Open, Seminar—Spring Photography This course is a hybrid. Each week, for the first 10 Michael Spano weeks of the semester, a different photographic idea Open, Seminar—Spring or genre will be traced from its earliest iterations to This is an analog, film-based oursec that introduces its present form by means of slide lectures and the fundamentals of black-and-white photography: readings. And each week, students will respond with acquisition of photographic technique, development their own photographic work inspired by the visual of personal vision and artistic expression, and presentations and readings. Topics may include discussion of photographic history and personal dressup/narrative, the directorial mode in contemporary practice. Reviews are designed to photography, contemporary art-influenced fashion strengthen the understanding of the creative photography, new strategies in documentary process, while assignments will stress photographic practice, abstraction, the typology, the photograph aesthetics and formal concerns. Conference work in color, and narrative photography. In the final entails research into historical movements and weeks of the semester, the emphasis will shift as individual artist’s working methods. Throughout the students work on a subject and in a form that semester, students are encouraged to make frequent coincides with the ideas they most urgently wish to visits to gallery and museum exhibitions and share express. No previous experience in photography is their impressions with the class. The relationship of necessary nor is any specialized equipment. A desire photography to liberal arts also will be emphasized. to explore and to create a personally meaningful Students will develop and complete their own bodies body of work are the only prerequisites. of work as culmination of their study. This is not a digital photography course. Students need to have at Drawing From Nature least a 35mm film amerc a and be able to purchase film and gelatin silver paper throughout the term. Gary Burnley Open, Seminar—Fall The world we inhabit and learn to navigate with awe, The New Narrative Photography delight, and wonder is filled with things whose Joel Sternfeld existence we had no hand in making. How do you see Open, Seminar—Spring your own individuality and importance when facing A photograph alone, without caption, is like a simple the vast and incomprehensible backdrop of nature? utterance. “Ooh!” or “aah!” or “huh?” are responses To escape the turmoil of earthly confinement, nature to it. But when pictures are presented in groups with has come to represent both the desire for freedom and our need for order. Before written language, THE CURRICULUM 177 drawing was a way to understand our connection to Look at You: The Portrait the world around us, a way to record a sense of Gary Burnley place, to mark where one was, here, in relationship Open, Seminar—Spring to something else there. This course will focus on The portrait has served a myriad of functions over themes and concepts of landscape, on seeing and time. The likeness or impression of a single face can understanding nature through observation, inform or define identity, build ties to past history, documentation, journeying, mapping, and locating perpetuate concepts and ideals of beauty and one’s perceived place in a world that is partly real gender, ensure immortality, and/or establish social and partly invented. status, to mention only a few. For the artist, portraiture creates a bridge between the Color psychological and the scientific yb revealing the Gary Burnley operation of the mind of both the viewed and the Open, Seminar—Fall viewer. The focus of this course will be on the Color is primordial. It is life itself, and a world structure beneath bone and muscle, both formally without color would appear dead and barren to us. and symbolically; the creative potential of the Nothing affects our entire being more dramatically portrait—and portraiture in general—explored than color. The children of light, colors reveal and through observation; and memory. Daily exercises add meaning—giving richness and fullness to all using a variety of methods, means, and materials, that surrounds us. A vehicle for expressing emotions both inside and outside the studio, to build and and concepts as well as information, color soothes reinforce disciplined, sustained work habits will be us and excites us. Our response to color is both key in growing the technical and observational skills biological and cultural. It changes how we live, how necessary to represent what, for each individual, a we dream, and what we desire. Using a variety of portrait might be. methods, this course will focus on an exploration of color, its agents, and their effects. Not a painting Other courses of interest are listed below. Full course, this class will explore relationships among descriptions of the courses may be found under the theory, perception, use, and the physiology of color. appropriate disciplines. Clearly defined problems and exercises will concentrate on understanding and controlling the First-Year Studies: Histories and Theories of principles and strategies common to the visual Photography (p. 10), Sarah Hamill Art History vocabulary of color, as well as its personal, Histories of Modern and Contemporary Art (p. 11), psychological, symbolic, expressive, and emotional Sarah Hamill Art History consequences. Lift Up Your Hearts: Art and Architecture of the Baroque—Europe and Its Colonies, 1550–1700 (p. 10), Joseph C. Forte Art History Lost and Found: Collage and the The Actor’s Voice Over: An Intensive Exploration of Recycled Image Voice Work (p. 56), Doug MacHugh Filmmaking Gary Burnley and Moving Image Arts Open, Seminar—Spring The Creative Process: Influence and This course will consider the use, reuse, and, Resonance (p. 105), Chester Biscardi Music therefore, possible reinterpretation of existing Theories of the Creative Process (p. 137), Charlotte L. images and discarded materials in the production of Doyle Psychology new works of art. The creative potential of viewing The Psychological Impact of Art (p. 135), Alison Jane the familiar in a new context will be the focus of our Martingano Psychology exploration. Issues such as recognition, replication, Cuban Literature and Film Since 1959—Vivir y prime objects, invention within variation, pensar en Cuba (p. 155), Isabel de Sena Spanish appropriation, history, and memory (both personal Intermediate Spanish II: Juventud, divino and cultural) will be examined. Each student will be tesoro... (p. 155), Isabel de Sena Spanish expected to nurture and sustain a unique and First-Year Studies: Ecopoetry: Poetry in Relation to individual point of view. The course will revolve the Living World (p. 179), Marie Howe Writing around daily exercises, clearly-defined problems, and Our World, Other Worlds (p. 180), Myra Goldberg assignments both inside and outside the studio that Writing are designed to sharpen awareness and reinforce Poetry: What Holds the Unsayable (p. 186), Marie the kind of disciplined work habits necessary to Howe Writing every creative endeavor. 178 Writing WRITING student’s hero(es) is that he, she, or they are human and living on Earth. Over this yearlong course, each In Sarah Lawrence College’s nationally recognized writer will develop a sustained hero’s tale that will writing program, students work in close require the accurate imagination of place, time, collaboration with faculty members who are active, character, and actions in response to each hero’s successful writers. The program focuses on the art challenges and obstacles. Writers will research, as and craft of writing. Courses in poetry, fiction, and well as reflect on, heroic models from antiquity to creative nonfiction are offered. the present day. Because this is a FYS course, we will In workshops, students practice their writing incorporate exercises and lessons related to the and critique each other’s work. The program basic elements of fiction, point of view, structure, encourages students to explore an array of character, setting, and dialogue. We will read and distinctive perspectives and techniques that will analyze model stories that reflect those aspects of extend their own writing ability—whatever their craft and depict different kinds of heroes. We will preferred genre. Conferences provide students with also read contextual texts such as Sapiens: A Brief close, continual mentoring and guidance and with History of Humankind, as well as a short digest of opportunities to encounter personally their teachers’ historical events called A Little History of the World. professional experiences. Teachers critique their In addition to meeting in our biweekly class students’ writing and select readings specifically to seminars, I will meet with each of you individually in augment or challenge each student’s work. In biweekly conferences. In alternate weeks, we will conferences, student and teacher chart a course of meet in small focus groups. study that best allows individual students to pursue subjects and issues that interest them, to develop First-Year Studies: Writing and the their own voice, to hone their techniques, and to Racial Imaginary grow more sophisticated as readers and critics. Rattawut Lapcharoensap The College offers a vibrant community of Open, FYS—Year writers and probably the largest writing faculty In what ways have American writers and artists available to undergraduates anywhere in the rendered the felt experience of race and racial country. Visits from guest writers who give public inequality? How might we understand race and readings and lectures are an important component racism not only as social forces but also as of the curriculum throughout the year. imaginative ones? And how might we, as writers and Sarah Lawrence College also takes full readers, productively grapple, contend, and engage advantage of its proximity to the New York City with our own positions as artists and citizens within literary scene, with its readings, literary agencies, these historical and imaginative legacies? In other publishing houses, and bookstores—as well as its words, how might we fruitfully think about what wealth of arts and culture. The city provides fertile Claudia Rankine and Beth Loffreda have recently ground for internships in which students can use called—in their anthology of the same name—“the their writing training in educational programs, racial imaginary”? Over the course of this yearlong schools, publishing houses, small presses, journal creative-writing workshop, students will be asked to productions, magazines, and nonprofit arts agencies. explore the American racial imaginary by examining writing in a variety of genres and disciplines—from First-Year Studies: Necessary Hero short stories to personal essays and poetry, as well Mary LaChapelle as academic criticism and historical scholarship—in Open, FYS—Year the interest of producing and workshopping their Imagine a hero who grows up in the Appalachian own original writing. During the fall semester, Mountains and receives a scholarship to a private students will meet with the instructor weekly for school in Malibu Beach, or a hero who is a Mexican individual conferences. In the spring, we will meet immigrant and lives near the Oakland shipyards. weekly or every other week, depending on students’ Imagine a child from Norway whose family needs and the progress of their conference projects. immigrates to North Dakota in the 1870s, or a teenager who develops solar technology for her village in India. What about their characters will begin to distinguish each as a hero? What flaws or beliefs? What innovative actions will their circumstances, culture, gender, or time in history necessitate? The only requirement for each THE CURRICULUM 179 First-Year Studies: Ecopoetry: First-Year Studies: Explorations in Poetry in Relation to the Living the Poetic Voice: Western and World Non-Western, Traditional and Marie Howe Experimental Open, FYS—Year Dennis Nurkse Poetry is the human song called out: in joy, in love, in Open, FYS—Year fear, in wonder, in prayer, in rebuke, in war, in peace, Contemporary poets face a dazzling range of stylistic in story, and in vision. The human poem collects us options. This course is designed to give you a together, individuates us, and consoles us. We read grounding in the practice of modern poetics and to poems at funerals, at weddings, graduations...they encourage you to innovate as you understand the accompany us through the gates of our lives, in roots. We’ll look at prosody, the poetic line, and public, or in private...shared through a book, a stanza form. We’ll examine the artistic thinking computer, a letter, a song. Now we find ourselves at behind free verse (our main focus), haiku, the the brink of an unstoppable ecological disaster. A sonnet, the ghazal, the ballad, and the blues line. change of consciousness is necessary. How can We’ll explore what poets do with voice, tone, and poetry accomplish this? For a long time, we have not personae—how poets dramatize their insights. We’ll noticed how our civilizations and technologies have read widely: modern masters like Elizabeth Bishop affected the rest of the living world. This course will and Gwendolyn Brooks; contemporaries like Anne ask questions: Who do we think we are? Who taught Carson and Yusef Komunyakaa; classical poets like us that? Who are we in relation to the other George Herbert; and world poets such as Issa, Basho, animals? To trees and plants? To insects? To stars? Pablo Neruda, Aime Cesaire, Anna Akhmatova, and How have our human myths informed those Lorca. We’ll discuss how to read poetry as relationships? How are those myths evident in our practitioners and how to hear what’s on the page. human world today? What is poetry? What is The strong constant focus will be on participants’ ecopoetry? How can poetry instruct? How can own poems; class members will be encouraged to poetry document? How can poetry re-vision? follow their own poetic paths and develop their own Prophesy? Protest? Preserve? Imagine? In our time artistic vocabulary. The class will be part humanistic together, you will read poetry written by published workshop, part writing community, part critical poets. You will write your own poems, one each inquiry. Expect to write freely and read voraciously. week, and share them with each other. You will keep Biweekly individual conferences will alternate with observation journals, meet with another person in class poetry readings, in which we will present our our class each week in a poetry date, and meet with own poems as well as poems of favorite me in individual and small-group conferences. We contemporary (or ancient) poets. will proceed as curious learners and writers. Through our close study, each of you (in conference work and together) will learn about a very specific aspect of The Short Story: Explorations the natural world that interests you (an animal, a Carolyn Ferrell forest, a coral reef, etc.) and then teach the rest of Open, Seminar—Year us in class what you have learned. We will learn how What makes a story a story? What are the tools of to write poems about these subjects so that the fiction writers? How does one go from character to poem itself becomes an experience we have never scene to story? When does a story make you want to had before. And we might slowly move away from keep reading—beyond its end? These are questions the human as the center of the poem and welcome that we will explore in workshop; we'll think about the rest of the living world in. We will know more at our stories from the first draft to the revision, the end of this class about the other animals and exploring questions of craft through weekly writing plants and insects and rivers and oceans. If our and reading assignments. The various forms of the hearts break with this deepening relationship, we short story (including the short short, the frame might also discover a great joy and a new story, the episodic story, and micro fiction, among responsibility. We will want to share what we have others) will guide us as we create. Our reading list learned and written with the wider community. We includes writers such as Edward P. Jones, Steven will find ways to do that. I can assure you, we will be Millhauser, Camille Acker, Carmen Maria Machado, changed. Students will have an individual conference and Nana Adjei-Brenyah—writers whose use of point every other week and a half-group conference on of view, character development, setting, voice, and alternating weeks. structure will hopefully provide inspiration. Students are expected to attend at least two readings on 180 Writing campus, as well as to prepare a reading list for fiction and a film. Our objective is for you to write, conference. Typed critiques of student stories are revise, and workshop at least one fully developed also required, as is participation in workshop. Last story each semester. but not least: We'll work on developing our constructive criticism, which, next to reading, is key Fiction Workshop to becoming a strong writer. April Reynolds Mosolino Open, Seminar—Year Our World, Other Worlds All great stories are built with good sentences. In Myra Goldberg this workshop, students will create short stories or Open, Seminar—Year continue works-in-progress that will be read and This is a writing course that explores the use of discussed by their peers. Class sessions will focus on episodes in a world made of words. We read short constructive criticism of the writer’s work, and stories, parts of novels, poems, newspaper articles, students will be encouraged to ask the questions and essays from many times and worlds and with which all writers grapple: What makes a good occasionally watch episodes and films. eW also do story? Have I fully developed my characters? And exercises designed to help practice character does my language convey the ideas that I want? We drawing, dialogue, pacing, composition, editing, and will talk about the writer’s craft in this class—how world building. Still, much of the work of the class people tell stories to each other, how to find a plot, involves writing episodes of a long work that and how to make a sentence come to life. This becomes our conference work and can be completed workshop should be seen as a place where students in one or two semesters. These works are discussed can share their thoughts and ideas in order to then in small groups, whose members become experts on return to their pages and create a completed each others’ creations. Many of the works take place imaginary work. There will also be some short in an imaginary world, some are memoirs, others go stories and essays on the art of writing that will set back and forth between worlds. The course is open the tone and provide literary fodder for the class. but involves a willingness to enter sympathetically into someone else's work over time and to be an The Rules—and How to Break informed reader for that person. It also involves the ability to work on a piece of writing for at least a Them semester. Nelly Reifler Open, Seminar—Year The first part of this earlongy class will be modeled Fiction Writing Workshop after a graduate-level craft fiction class. eW will Mary LaChapelle examine and discuss fundamental craft terms, as Open, Seminar—Year well as the generally accepted contemporary rules Nabokov stated that there are three points of view for writing fiction. e’llW look at how some writers from which a writer can be considered: as a explode those rules—and we’ll see how we can storyteller, as a teacher, and as an enchanter. We will exploit the rules in our own writing. The craft class consider all three, but it is with the art of will segue into a workshop, in which we will discuss enchantment that this workshop is most dedicated. student work each week using what we’ve learned We will walk through the process of writing a story. about craft rules and rule-breaking. We’ll be reading Where does the story come from? How do we know work by published authors, such as Katherine Anne when we are ready to begin? How do we avoid Porter, Anton Chekhov, Octavia Butler, Raymond succumbing to safe and unoriginal decisions and Carver, Robert Lopez, E. M. Forster, Samuel Beckett, learn to recognize and trust our more mysterious and Helen Oyeyemi, Maurice Kilwein Guevara, Joy promising impulses? How do our characters guide Williams, Barry Hannah, Denis Johnson, Renee the work? How do we come to know an ending, and Gladman, Elizabeth Crane, Shelly Jackson, Gary Lutz, how do we earn that ending? And finally, how do we and others. create the enchantment necessary to involve, persuade, and move the reader in the ways that fiction is most apable.c Our course will investigate Writing Workshop the craft of fiction through readings, discussion, and Melvin Jules Bukiet numerous exercises. In the second semester, we Open, Seminar—Fall move on to explore dream narratives, the sublime, Teachers run workshops, but students determine the the absurd, and the fantastic. We study a content of the workshops and the tenor of their democratically chosen novel and, possibly, graphic discourse. That’s because stories can pursue either THE CURRICULUM 181 personal concerns or public issues. Stories may be The Kids Are All Right: Fiction psychological or philosophical. A few emerge from Workshop history, others from science. Though nearly every academic discipline can be represented within Leah Johnson fiction, M. H. Abrams famously divided the arts into Open, Seminar—Fall two categories: those that aim to replicate the world This workshop will focus on developing and by using a mirror and those that aim to illuminate sharpening stories with adolescent protagonists. The the world by using a lamp. So amidst a complex course will strive to answer the questions: How does range of subjects and perspectives, how is fiction one write teenage characters with an authentic approached in this class? It’s simple. You write. I voice? How do we channel the angst of our youth to read. We talk. craft honest, true-to-life narratives? And how can we capture on the page, without pandering, the sheer bigness of first xperience es? The texts to The Revolution Will Not Be which we will return in this course will range from Televised: Writing and Producing young adult fiction, ot literary fiction, ot film in order Audio Fiction Podcasts for us to better understand the nature of stories Ann Heppermann about young people and the ways in which they Open, Seminar—Fall manifest themselves based on era, medium, and The goal of this class is to start a revolution. Over the intended audience. The workshop will be grounded in past few years, we have entered into what is being empathy—and all critiques, discussions, and called “The Second Golden Age of Audio”—but there feedback will reflect that ethos. eadingsR for is a problem. This Golden Age is almost primarily workshop and conference will include: The Poet X, by nonfiction. This class will change that. Students will Elizabeth Acevedo; Aristotle and Dante Discover the learn to write and produce groundbreaking Secrets of the Universe, by Benjamin Alire Sáenz; contemporary audio dramas for radio and podcast. Beasts of the Southern Wild, directed by Benh Zeitlin; We will listen to emerging works from podcasts such Long Division, by Kiese Laymon; The Miseducation of as Welcome to Night Vale, The Truth, Wiretap, and Cameron Post, by Emily Danforth; The Outsiders, by Lore, as well as works by authors who have played in S.E. Hinton; Darius the Great Is Not Okay, by Adib this field: Miranda July, Rick Moody, Gregory Khorram; and Annie John, by Jamaica Kincaid, among Whitehead, Joe Frank, and others. We will also create others. our own critical discourse for contemporary audio drama—analyzing writings and essays from the Fiction Workshop: Style fields of screenwriting, sound art, contemporary Rattawut Lapcharoensap music, and literature—to help understand and Open, Seminar—Fall analyze the works that we are creating. The creators This fiction-writing orkshopw will focus specifically of Limetown, The Truth, and other audio-fiction on the pleasures of “style.” What is style? How do we makers will visit the class to talk about their stories know when we are in the presence of one? What are and production processes. The class will also the hallmarks of a successful or moving style? When contribute to the Sarah Lawrence College does style feel meaningful? And, conversely, when International Audio Fiction Award (aka, The does it feel empty or artificial? In other orw ds, how Sarahs)—the first international audio-fiction wara d does style make itself substantive in fiction? in the United States. Students will make works for Through an exploration of both canonical and The Very, Very, Short, Short Stories Contest and help contemporary short fiction, students will be urged to curate works for the award-show podcast. In the fall, find not so much their “own” style as to think about we will collaborate with master-degree students and explore the many styles available to them as from the drama department at the Royal writers. Our time in class will be divided between Conservatoire in Antwerp to create original works close readings of published work and workshopping that will be featured at a European festival. At the of student writing. In addition, students should end of the semester, students will take over WGXC expect, by the end of the term, to produce numerous radio station in the Hudson Valley and broadcast imitation exercises, critical reflections, and a their final onfc erence projects. portfolio of fiction. 182 Writing Fiction Workshop: The capital “t”). We’ll be reading some of the most Transformation Process: Memoir innovative and surprising fiction being written today and seeking out—through our own weekly writing and Fiction prompts—the limits of what we call fiction. Our Carolyn Ferrell reading list may include a short, unorthodox novel or Open, Seminar—Spring two (Michael Ondaatje’s The Collected Works of Billy How do we, as writers, take our lived experiences the Kid and Clarice Lispector’s The Hour of the Star and transform them into fiction? The novelist Janet are both strong possibilities), as well as short stories Frame observed that “putting it all down as it by writers including Carmen Maria Machado, Dawn happens is not fiction; there must be the journey by Raffel, Donald Barthelme, Harlan Ellison, Roxanne oneself, the changing of the light focused upon the Gay, Julio Cortazar, and Rick Moody. Over the course material, the willingness of the author herself to live of the semester, each student will workshop one within that light…the real shape, the first shape, is original story. We will be writing often, reading great always a circle formed, only to be broken and and inimitable works, and attempting to create a reformed, again and again.” The purpose of this community that values experimentation and play in course is to explore the ways in which memoir and the creation of short fiction. The idea is ot honor all fiction orkw together to tell the most deeply felt, of fiction’s yriadm possibilities without privileging emotionally honest, and resonant story possible. any one of them. The only prerequisites are We’ll look at both the fiction and nonfiction of generosity, curiosity, and open-mindedness. writers that include Andre Dubus III, Janet Frame, Edward P. Jones, Nana Adjei-Brenyah, George Saunders, and Jamaica Kincaid. The class will be led Connected Collections: Short as a fiction orkshop,w although there will be some Stories and How to Link Them opportunity to explore biography through occasional Mary Morris writing exercises. The workshop will be divided Sophomore and above, Seminar—Year between the discussion of student stories and the From Edgar Allan Poe to Sandra Cisneros and Tim discussion of published literature (which will include O’Brien, writers have been engaged in the art of essays on writing craft). Students are required to do writing stories that weave and interconnect in additional conference reading, as well as to attend interesting ways. And, in some cases, these might at least two campus readings per semester. From the become a novel told in stories. Writers have found start, we will work on developing our constructive ways to link their stories, whether through THEME as criticism, which (when developed in a supportive in Poe or, more recently, Dan Chaon’s Among the atmosphere) should help us better understand our Missing or Joan Silber’s Ideas of Heaven; through own creative writing. PLACE as in James Joyce’s Dubliners or Sandra Cisernos’ House on Mango Street; through Building a Better Matrix: A Fiction CHARACTERS as in O’Brien’s The Things They Carried or Susan Minot’s Monkeys; or, finally, through an Writing Workshop INCIDENT that links them as in Haruki Murakami’s David Hollander After the Quake, Russell Banks’ The Sweet Hereafter, Open, Seminar—Spring or Thornton Wilder’s The Bridge of San Luis Rey. This A blank page is not a physical construction site. It workshop will focus on the writing of stories that seems to go without saying that anything that are connected in one of these various ways. We will appears on that page is a speculation—a series of read from connected collections. Exercises will be hypotheses that sponsor no life and no activity created in order to help students mine their own outside the page’s confines. Whether ouy are writing material in order to create small collections of traditional realist short fiction, orkingw with narratives with similar preoccupations, terrains, or magical elements, or making wildly experimental people. Each student will produce his/her own language art, you’re manipulating a matrix—one collection of 10-12 linked stories during the yearlong that, if established with sufficient rigor, creates the course. We will definitely learn the craft of the short illusion of substance from the ether of abstraction. story, and there will be many exercises and prompts Why, then, is there a seemingly widespread, tacit to help the student who may be less familiar with agreement that realism is the “most real” kind of this genre; but the focus will be on finding oury writing? This workshop will argue that all fiction is project and then figuring out how to link the stories. speculative fiction, that a story is beholden to Though not required, it is best if a student has nothing other than its own internal logic, and that previously worked in the genre. Some creative experimentation is not a barrier to Truth (with a writing experience is required. THE CURRICULUM 183 Nonfiction Writing as Literature cultural contexts, nourishments, and manipulations that may affect what happens between a writer or Jo Ann Beard reader and a drafted or published sentence? Is it Open, Seminar—Year possible to identify a lie in print? When you write, is This is a course for students who have taken a it possible to lie less? Is it possible to “tell the creative-writing class and are interested in exploring truth”? In conference, we’ll discuss drafts of student how nonfiction anc be literary and artful. The first work; in class, in light of the questions above and as semester will focus on reading and interpreting a way of guiding our own makings, we’ll discuss outside work—essays, articles, and journalism by readings that may include the work of June Jordan, some of our best writers—in order to understand Graham Fuller, Teju Cole, Wallace Stegner, Dionne what good nonfiction is and how it is created. Brand, William F. Buckley, Elizabeth Cook-Lynn, and Writing will include mostly exercises and short Bertolt Brecht—with the work of James Baldwin pieces aimed at putting into practice what is being throughout. You’ll be expected to attend class, illuminated in the readings. We will look at fiction respond to assigned and suggested readings, and and poetry to better understand language and image participate in discussions. By the end of the first and at documentary films ot study narrative semester, you’ll have written at least five pages structure; and we will write in class and outside exposing a lie in print and have given a brief class. During the second semester, students will presentation on your process; by the end, you’ll have create longer, formal essays to be presented in produced 20 pages of publishable nonfiction in workshop. whatever form you choose. The only prerequisites are a passion for reading that equals your passion Wrongfully Accused for writing and a willingness to undertake whatever Marek Fuchs might be necessary to read and write better on our Open, Seminar—Year last day of class than on our first. Long-form investigative journalism has opened many doors, perhaps most literally in America’s penal What’s the Story? An Audio system where journalists have regularly revealed—and freed—the wrongfully convicted. Journalism Class This class will set out to expose the innocence (or Sally Herships confirm the guilt) of a man or omanw convicted of a Open, Seminar—Fall controversial murder or other serious felony. Halfway through a politically divisive presidency that Working collectively and using all of the tools and has fractured the country—and with the traditions of investigative journalism, the class will proliferation of fake news—journalism is more attempt to pull out all known and unknown threads important than ever. And so are the skills required to of the story to reveal the truth. Was our subject do the job. The landscape of radio is exploding, and wrongfully accused? Or are his or her claims of new podcasts are being launched almost faster than innocence an attempt to game the system? The listeners can decide which episode to download class will interview police, prosecutors, and next. These outlets, shows, and storymaking witnesses, as well as the friends and family of the machines are hungry—both for stories and for the victim and of the accused. The case file will be producers with the skills to know how to tell stories. examined in depth. A long-form investigative piece In this class, we’ll learn the fundamentals of making will be produced, complete with multimedia radio news—both writing and production, for short accompaniment. stories and long. We’ll cover editing, software, interviewing skills, and, of course, how to hold your microphone. We’ll learn what makes a story, how to Nonfiction orkW shop: To Tell the get good tape, and how to write for the ear (very Truth different than for the eye—just try comparing an Suzanne Gardinier article from The New York Times with a transcript Open, Seminar—Year from NPR). We’ll also cover the skills critical for all This yearlong class will explore the mysteries of nonfiction narrative storytelling, print or audio, from reading and writing what has been called “Morning Edition” to “This American Life.” We’ll talk “nonfiction,” focusing particularly on questions research, ethics, fact checking, how to find sources, around what has been called lying and what has and how to get them to talk. Finally, we’ll cover the been called telling the truth. Was Toni Morrison right art of the pitch. That’s industry lingo for selling your when she said our minds have an “antipathy to fraud”? Does lying have a syntax? What are the 184 Writing story. It’s no good getting the scoop if you don’t Notebooks and Other Experiments know how to sell your stuff. News is new. Come and Kate Zambreno learn something new. Open, Seminar—Fall There is such an alive quality to reading a writer’s Nonfiction Writing Seminar: Mind notebook—a laboratory of interrupted and ongoing as Form: The Essay, Personal and consciousness, whose very irregularities or Impersonal imperfections give it a wildness unmatched by more plotted or studied works. In this writing seminar, we Vijay Seshadri will read and think through first-person or Open, Seminar—Fall documentary texts that take on some quality of the The essay has been used as a vehicle of intimacy and notebook, scrapbook, sketchbook, or diary—these directness not only by writers of all genres but also forms enthralled to the fragment, the list, the by artists of other art forms and by intellectual aphorism, the rhythms of the daily, the problem of workers in a wide variety of fields. Why is this? the person in time and space, and the process of Maybe because the essay is flexible enough to adapt creation. We will read writers' notebooks and other to the shape, structure, and movement of our minds strange and less easily categorizable forms that as they actually function. We will examine the essay borrow from the notebook but exist as essay, novel, by reading 15 to 20 significant examples of the meditation, poem, trance journal, or pillow book. The genre, ranging from contemporary writers (Maggie syllabus might include notebooks and other Nelson, David Foster Wallace, Nancy Mairs, Claudia experiments from Sei Shonagon, Anne Carson, Sophie Rankine, among others) to writers from recent Calle, Susan Sontag, Bhanu Kapil, John Cage, David history (Sontag, Didion, Mailer, Eiseley, Baldwin, Wojnarowicz, Sarah Manguso, Renee Gladman, Hervé Orwell, Tanizaki), to its classic writers (Yeats, Pater, Guibert, Roland Barthes, Moyra Davey, T. Hazlitt), to its creator (Montaigne), and then to its Fleischmann, Franz Kafka, and Derek Jarman. You prehistory in the sermon, the meditation, the epistle, will be keeping a notebook over the course of the the spiritual autobiography (Edwards, Basho, semester, and we will be workshopping after Augustine, St. Paul, Plato). Conference work will midterm more formalized pieces inspired by and comprise two essays, both to be presented to the taken from the notebook. Open to anyone willing to whole class, and a series of exercises. read and write wildly and seriously.

Nonfiction orkW shop: The World Writing Our Moment and You Marek Fuchs Clifford Thompson Open, Seminar—Spring Open, Seminar—Fall It would be safe to say that journalism and This course will be divided into three units, each of nonfiction writing are currently undergoing a which will involve reading published essays and transformation. Our most storied publications are in writing our own. In the first, called Place, we will a state of crisis. Big-city newspapers are failing by read and write essays about authors’ relationships to the day. Magazines are imperiled. Book publishers particular places—less travelogues than face encroaching competition from handheld investigations of the dynamic between the person electronic devices and online search engines that do and the place. Examples of published essays we will not recognize copyright laws. What is an ambitious, read for this unit are “Stranger in the Village,” by intuitive writer to do going forward? Quite simply, James Baldwin, and Seymour Krim’s writing on harness all of the strengths of the storytelling past London. The second unit, Demons, will focus on to a new world of few space restrictions, more writers’ personal challenges, from mental illness (as flexible tones, and the ready presence of video, in Suzanna Kaysen’s memoir, Girl, Interrupted) to audio, and animation—which can either enrich or migraines (the subject of Joan Didion’s essay, “In encroach upon text—and comprehend the role of Bed”). For the final unit, Critical Survey, we will read writer in such a way as to include and exploit new and write critical takes on works or figures in media. We will examine the relationship between particular fields. xE amples: James Agee’s essay, literary nonfiction, which has always been cinematic “Comedy’s Greatest Era,” about silent film in focus and flexible in tone, and the once and future comedians, and Toni Morrison’s (very) short book, practice of journalism. Masters of 20th-century Playing in the Dark, about race as it pertains to early nonfiction such as .V S. Naipaul, Truman Capote, American literature. Joseph Mitchell, and Roger Angell—steeped as they are in the journalistic practice of their time—can THE CURRICULUM 185 serve as guideposts to our uncertain future. We will Nonfiction Laboratory examine, through reading and writing, the ways in Stephen O’Connor which the formulas of journalism are transformed Open, Seminar—Spring into literature. We will emphasize the importance of This course is to students who want to break free of factuality and fact-checking and explore adapting the conventions of the traditional essay and memoir modern storytelling to video, photography, and and discover a broader range of narrative and sound. As the semester progresses, literary stylistic possibilities available to nonfiction writers. nonfiction will be both discovered and reinvented to During the first half of the semester, students will fit our new orld.w read and discuss examples of formally innovative nonfiction that will serve as the inspiration for brief Narrative Journalism in the Age of assignments. Completed assignments will also be S-Town and other Serialized read aloud and discussed each week. During the Podcasts second half of the semester, students will workshop longer pieces that they will have written in Ann Heppermann consultation with the instructor as a part of their Open, Seminar—Spring conference work. Most readings will be found in The We are living in “The Golden Age of Narrative Audio.” Next American Essay, edited by John D’Agata, and in a Shows like This American Life, Radiolab, More photocopied handout; but students will also read Perfect, and numerous other story-driven shows not and discuss Alejandro Zambra’s genre-defying only dominate podcasts and airwaves but also have Multiple Choice. created the paradigm for emerging shows like 99% Invisible, Love + Radio, and many others. We’ve also entered the age of the serialized podcast with Workshop in Personal Essay limited-run series like Missing Richard Simmons, Jacob Slichter Heaven’s Gate, S-Town, and others put out by podcast Open, Seminar—Spring companies like Gimlet, Panoply, First Look Media, We write personal essays to learn about ourselves, to Pineapple Street Media, and WNYC Studios. This class face our demons, to understand what entangles us, will teach students the practicalities of how to expose the lies that we have allowed ourselves to narrative radio journalism in the age of serialized believe, to recognize what we are running away podcasting works, while we explore what this from, to find insight, and/or to tell the truth. This narrative movement means for the future of audio workshop is designed for students interested in journalism. Students will learn practicalities; e.g., doing that work and learning to craft what they have pitching both multipart and narrative pitches by written so that their readers can share in their using the actual “call for stories" from studios and learning. We will learn to read as writers, write as shows like This American Life, Radiolab, and Nancy readers, and, where relevant, draw connections and from podcasting companies like Pineapple between writing and other creative fields such as Street Media and Gimlet; the fundamentals of how to music and film. record and mix stories using the latest digital editing technology; what narrative editors expect in a series; A Question of Character: The Art of and the skills necessary for a podcast internship. We will also reflect on the theoretical and ethical the Profile considerations for this “Golden Age of Narrative Alice Truax Audio.” We will ask questions, such as: How does Open, Seminar—Spring imposing narrative structures affect nonfiction Any writer who tries to capture the likeness of storytelling? How do narrative shows deal with another—whether in biography, history, journalism, ethical missteps? What does it mean to have “a or art criticism—must face certain questions. What voice”? Does it matter who gets to tell the story? makes a good profile? What is the power dynamic (Answer on the last question, “Yes.” We’ll discuss between subject and writer? How does a subject’s why.) Producers, editors, and freelancers for This place in the world determine the parameters of what American Life, Radiolab, and Pineapple Street Media may be written about him or her? To what extent is will visit the class to provide insight into their shows any portrait also a self-portrait? And how can the and answer student questions. The class will also complexities of a personality be captured in several take a field trip ot Gimlet or Pineapple Street Media thousand—or even several hundred—words? In this to see podcasting in action. course, we will tackle the various challenges of profile writing, such as choosing a good subject, interviewing, plotting, obtaining and telescoping 186 Writing biographical information, and defining the oler of Students will be required to bring in a new piece of place in the portrait. Students will be expected to writing each week and to occasionally write critical share their own work, identify what they admire or responses to the reading. This class will be a good fit despise in other writers’ characterizations, and learn for students who are comfortable reading 100-200 to read closely many masters of the genre: Daphne pages a week in addition to generating their own Merkin, Malcolm Gladwell, Gay Talese, and Janet creative writing. For workshop, students may submit Malcolm. We will also turn to shorter forms of poetry, fiction, creative nonfiction, or anything in writing—personal sketches, brief reported between. We will aim to locate a piece’s heat—its pieces—to further illuminate what we mean when linguistic, figurative, and musical energy—and we talk about “identity” and “character.” The goal of consider how that energy might be developed, or this course is less to teach the art of profile writing maximized, in subsequent drafts. Half of each class than to make us all more alert to the subtleties of will be devoted to discussing the weekly reading; the the form. other half will be spent discussing student work. Occasionally, we will do in-class writing exercises. Experiments With Truth: There will be some take-home writing prompts. At the end of each semester, students will put a Nonfiction Writing rF om the Edges number of their pieces through at least two Vijay Seshadri significant revisions and turn in a final portfolio, Sophomore and above, Seminar—Spring along with a packet of drafts. In the spring semester, Nonfiction writing is defined noty b what it is but by students will work on hybrid projects of their own. what it is not. It is not fiction. But what it is not comprehends a vast territory. We will spend the semester looking at the more unusual, experimental, The Education of a Poet and lyrical inhabitants of this territory: personal Victoria Redel essays masquerading as anthropological studies or Open, Seminar—Fall paleontological meditations or political screeds, blog Poet Muriel Rukeyser said, “If there were no poetry posts from medieval Japan and Renaissance France, on any day in the world, poetry would be invented diaries, poems in the form of diary entries, essays that day. For there would be an intolerable hunger.” masquerading as poems, micro nonfictions, In this class, we will read a variety of poems and feuilletons, prose poems passing themselves off as essays as paths to discussion of what we write, how travelogues, koans, sermons, speeches, and prayers. we write, and even why we write poetry. We will read a variety of writers from the past Consideration of what influences both the subject (among—but not limited to—Sei Shonagon, and fabric of poems will be integral to our Montaigne, Sir Thomas Browne, Wilde, Pessoa, conversation and to the questions we ask of our own Gandhi, Mandelstam, Elizabeth Bishop, V. S. Naipaul, poems. Thus, we’ll draw not only from the work of the unknown genius who wrote the Book of Job), and other writers but also from art, film, science, history, from the present (John D’Agata, Bhanu Kapil, Anne board games, mythology, religion, and popular Carson, Jonathan Franzen). After the first ewf weeks, culture. This is a class for those writers who are we will alternate, week-by-week, sessions willing to write, write more, and revise even more. discussing reading with sessions discussing student The goal in this class is to dig into the particular and work. Conference work will comprise discussion of peculiar ways that only you can sound in a poem and reading tailored to individual students and the to develop various sonic effects and strategies to equivalent of two large pieces of writing in whatever expand your possibilities. Among the poets studied form student and instructor agree upon. will be the work of remarkable faculty and students who have shaped the Sarah Lawrence writing program, including Grace Paley, Jane Cooper, Thomas Hybrids of Poetry and Prose: A Lux, Gerald Stern, Jean Valentine, and Muriel Multigenre Creative Workshop Rukeyser, as well as current poetry faculty. Jeffrey McDaniel Open, Seminar—Year Poetry: What Holds the Unsayable One of the exciting literary developments in recent years is the plethora of work that disrupts the notion Marie Howe of genre from writers such as Maggie Nelson, Jenny Open, Seminar—Spring Offill, and Eula Biss. In thisorkshop, w we will read a Poems are not merely feelings, the poet Ranier Maria book each week and consider architecture, diction, Rilke has written, but experiences. What is the association, metaphor, and other issues of craft. difference between a feeling and an experience? How can a poem become an experience? How can a THE CURRICULUM 187 poem, originating from the personal, transcend the Other courses of interest are listed below. Full personal? How can writing the poem transform the descriptions of the courses may be found under the writer? Every poem holds the unsayable. How does a appropriate disciplines. poem do that? How can we attempt to do that—using words? If you are interested in these First-Year Studies: Histories and Theories of questions, take this course. It is open to experienced Photography (p. 10), Sarah Hamill Art History writers, as well as to absolute beginners. If you are First-Year Studies: Introduction to Environmental interested in these questions, you are welcome. This Studies: Cultures of Nature (p. 39), Charles is a reading/writing course. We will spend time every Zerner Environmental Studies week reading poems that have already been Less is More: On Camera Performance (p. 56), Doug published (by dead poets and living poets) to see MacHugh Filmmaking and Moving Image Arts how they were made: music, syntax, line, sound, and The Actor’s Voice Over: An Intensive Exploration of image. We might spend time generating new work in Voice Work (p. 56), Doug MacHugh Filmmaking class through exercises and experiments. And we and Moving Image Arts will spend time looking closely at one another’s Public Stories, Private Lives: Theories and Methods work, encouraging each other to take risks and move of Oral History (p. 78), Mary Dillard History even closer to the mystery of the poem. Each writer Advanced Italian: Fascism, World War II, and the in the class will meet with another class member Resistance in 20th-Century Italian Narrative once a week on a “poetry date.” Each writer will be and Cinema (p. 83), Tristana Rorandelli Italian responsible for reading the assigned work and for Eight American Poets: Whitman to Ashbery (p. 98), bringing to class one written offering each week. We Neil Arditi Literature will work hard, learn a great deal about poetry and Latin American Literature and Film: Beyond the about our own poems, and have a wonderful time. Boom (p. 92), Heather Cleary Literature Poetry and the Book (p. 95), Fiona Wilson Literature Romanticism and Its Consequences in English- Reading and Writing Workshop Language Poetry (p. 92), Neil Arditi Literature Jeffrey McDaniel The Creative Process: Influence and Open, Seminar—Spring Resonance (p. 105), Chester Biscardi Music We will read a book of contemporary poetry each Theories of the Creative Process (p. 137), Charlotte L. week and spend roughly half of each class Doyle Psychology discussing the weekly book in detail. Poets to be read Advanced Beginning Spanish: Pop include: Terrance Hayes, Paisley Rekdal, and D. A. Culture(s) (p. 154), Heather Cleary Spanish Powell. The second half of each class will be devoted Advanced Interdisciplinary Studio II (p. 171), John to student work. If you want to read (and think O’Connor Visual and Studio Arts about) a book of poetry each week and write (and First-Year Studies: The Way Things Go (p. 169), John rewrite) your own poetry, then this will be a good O’Connor Visual and Studio Arts class for you. Students will be expected to write (and Media Burn: Moving Image Installation in rewrite) with passion and vigor, turning in a new Practice (p. 175), Jenny Perlin Visual and Studio first draft each week. Occasionally, there will be Arts critical response assignments, in-class exercises, The Ideas of Photography (p. 176), Joel Sternfeld small-group meetings, and writing prompts to Visual and Studio Arts generate new material. At the end of the semester, The New Narrative Photography (p. 176), Joel students will turn in a portfolio of poems, as well as Sternfeld Visual and Studio Arts a packet of revisions so that we can chart the evolution of each poem. Students will also write a five- to seven-page paper comparing two poets from the syllabus.

FACULTY 189

political tradition and local community and an FACULTY empirical study aimed at understanding the political culture on college and university campuses. SLC, Colin D. Abernethy Chemistry 2010– BSc (Hons), Durham University, England. PhD, The Gillian Adler Literature University of New Brunswick, Canada. Current BA, Barnard College. MA, University of York, UK. PhD, research interests include the synthesis of new early University of California, Los Angeles. Special transition-metal nitride compounds and the interests in Chaucer, medieval English and European development of practical exercises for literature, narrative temporality, and philosophies of undergraduate chemistry teaching laboratories. time. SLC, 2018- Author of publications in the fields of inorganic and physical chemistry, as well as chemical education. Cameron C. Afzal Religion Recipient of research grants from The Royal Society, BA, Grinnell College. MA, McGill University. MDiv, Yale Nuffieldoundation, F Research Corporation for the University. PhD, Columbia University. Active member Advancement of Science, and American Chemical of the Society of Biblical Literature and the American Society. Received postdoctoral research fellowships Academy of Religion, as well as the Catholic Biblical at the University of Texas at Austin and at Cardiff Association; has written on the Apocalypse of John University, Wales. Previously taught at: Strathclyde and has taught broadly in the fields of New University, Scotland; Western Kentucky University; Testament and Early Christianity, Judaism in the and Keene State College, New Hampshire. SLC, 2010– Second Temple Period, the Hebrew Bible, and Late Antique Christian Mysticism. SLC, 1992– Julie Abraham Lesbian, Gay, Bisexual, and Transgender Studies Hamid Al-Saadi Music BA (Hons.), University of Adelaide, Australia. MA, Maqam scholar, singer, artist and writer, Al-Saadi MPhil, PhD, Columbia University. Special interest in learned the art of singing and performing the Iraqi lesbian/gay/queer studies, 20th-century British and maqam from the legendary Yusuf Omar (1918-1987); American literature, contemporary feminisms, and Omar's own teacher, Muhammed Al-Gubbenchi literatures of the city; author of Are Girls Necessary?: (1901-1989)—probably the most influential maqam Lesbian Writing and Modern Histories, Metropolitan reciter in history—said that he considered Al-Saadi Lovers: The Homosexuality of Cities, and numerous to be the “ideal link to pass on the maqam to future essays; editor of Diana: A Strange Autobiography; generations.” Al-Saadi is also author of al-maqam wo contributor to The Nation and The Women’s Review of buhoor al-angham, a comprehensive text on the Iraqi Books. SLC, 2000– Maqam and its poetry. SLC, 2019-

Samuel Abrams Politics Glenn Alexander Music (Guitar) AB, Stanford University. AM, PhD, Harvard University. BA, Wichita State University. Acclaimed jazz, rock, Visiting fellow at the American Enterprise Institute in blues guitarist, composer, and vocalist. Performs Washington, DC; faculty fellow at George Mason's internationally with the world’s finest musicians and Institute for Humane Studies; faculty fellow at entertainers. Recorded CDs, albums, TV, and Center for Advanced Social Science Research at NYU; commercials. Served as jazz professor at Wichita and member of the Council on Foreign Relations. A State University and taught at The New School. Band graduate of Harvard University’s Kennedy School of leader, Shadowland. SLC, 2017– Government Program on Inequality and Social Policy and a former affiliate of Harvard's Canada Program Andrew Algire Music (African Percussion) and Institute for Quantitative Social Science. Main University of Wisconsin. Currently, musical director topics of research include social policy, inequality, of the New York-based Feraba African Rhythm Tap; international political economy, and comparative works with a number of groups, including The and American politics; special interest in network Mandingo Ambassadors, Kakande, The Afro-yorkers, analysis, the media, Congress, political behavior, Saida Fikri, and others. Performs locally and urban studies and cities, public opinion and survey internationally with several African recording artists, research, political communication and elections, and including Sekouba Bambino and Oumou Dioubate. the social nature of political behavior. Conducted Traveled to Europe, Cuba, Guinea, and Mali to study fieldwork throughout Europe and North America. and perform; received composition grants from Authored three books and numerous peer-reviewed various New York arts foundations. Residencies and popular press works. Two substantial projects throughout New York and New England. SLC, 2017– are presently in progress: a deep-dive into American 190 Faculty Abraham Anderson Philosophy (on leave yearlong) in Raritan, Parnassus, Keats-Shelley Journal, AB, Harvard College. PhD, Columbia University. Philosophy and Literature, and Jewish-American Fellowships at École Normale Supérieure and the Dramatists and Poets. SLC, 2001– University of Munich. Interests in philosophy and history of science, history of modern philosophy, and Damani Baker Filmmaking and Moving Image Arts the Enlightenment. Author of The Treatise of the (on leave yearlong) Three Impostors and the Problem of Enlightenment, BA, Sarah Lawrence College. BA, MFA, University of as well as articles on Kant, Descartes, and other California-Los Angeles, School of Film and Television. topics. Contributor to the new Kant-Lexikon. Has Baker's over 20-year career as a filmmaker includes taught at the Collège International de Philosophie, work that spans museum installation, feature St. John’s College, Instituto de Investigaciones documentaries, and advertising. Most recently, in Filosóficas, and elsewhere. SLC, 2007– The House on Coco Road (acquired by Ava Duvernay’s ARRAY Releasing), he combined family super-8 with, Chris Anderson Music (Trumpet) archival news and family interviews to weave his BM, Manhattan School of Music. Lead trumpet and mother's personal story with broader historical horn arranger: Southside Johnny and The Asbury threads to tell a story of migration and the Grenada Jukes, Allman Brothers Band; Beacon Theater Revolution. The House on Coco Road and his first Residency, 2003-2015. Co-founder, New York Horns. feature, Still Bill, on the life and music of Bill Withers, Lead trumpet: Donald Fagen New York Rock and Soul have been critically acclaimed and featured in The Revue, 1991-92; Hector Lavoe, 1986-88; Ray Barretto, New York Times, The New Yorker, Los Angeles Times, 1981-1986. Touring: Bruce Springsteen, Jon Bon Jovi, Time Out, and Village Voice, among others. Both Still Celia Cruz, Marc Anthony, Illinois Jacquet Big Band, Bill and The House on Coco Road enjoy worldwide Little Kids Rock Gala House Band, Michael Bolton, distribution on Showtime, Netflix, and BBC. Baker's Shadowland, S’Killit. Broadway: Movin’ Out, In The perspective has gained the attention of clients such Heights, Swing, The Full Monty, Beehive, Bring in ‘da as Apple, Ralph Appelbaum Associates (RAA), Noise Bring in ’da Funk. SLC, 2017– Wieden+Kennedy, Rainforest Alliance, IBM, and the United Nations. With RAA, Baker has directed more William Anderson Music (Guitar) than 20 films orf museums around the BA, SUNY-Purchase. Performed at Tanglewood world—featuring notables such as President Bill Festival and with the Metropolitan Opera Chamber Clinton, Kofi Annan, and President Ellen Johnson Players, Chamber Music Society of Lincoln Center, Sirleaf—all stories rooted in understanding the and New York Philharmonic. Guest on WNYC Leonard human story as its connection to place. Baker Lopate Show. Featured on NPR’s All Things recently returned from Iceland, where he directed Considered, where excerpts of his composition were “Waterfalls,” a music video for Meshell Ndegeocello. broadcast throughout the United States. His Djuna Produced by his production arm, Station 10, Baker Barnes settings were orchestrated and performed by collaborated with students in the United Nations the Riverside Symphony in 2015. Founder of Cygnus University Program on Gender Equality to deliver this Ensemble. SLC, 2017– groundbreaking work. His work has been supported by Sundance Institute, Ford Foundation, and the Emily Katz Anhalt Classics, Greek, Latin, Literature George Soros Foundation; he is an alumnus of AB, Dartmouth College. PhD, Yale University. Primary Filmmaker Magazine's "25 to watch." As a tenured interests are Greek epic and lyric poetry, Greek professor at Sarah Lawrence College, he teaches historiography, Greek tragedy, and Greek and Roman filmmaking ot a diverse group of sexuality. Publications include Enraged: Why Violent creatives—ensuring that the stories from all of our Times Need Ancient Greek Myths (Yale University communities continue to be told with grace, dignity, Press, 2017), Solon the Singer: Politics and Poetics and power. SLC, 2003- (Lanham, MD, 1993), as well as several articles on the poetics of metaphor in Homer and on narrative Jen Baker Music (Trombone) techniques in Herodotus. SLC, 2004– BM, Oberlin Conservatory. MFA, Mills College. Trombonist/composer. Awards: ASCAP Plus Award, Neil Arditi Literature 2012, 2013; Meet the Composer award, 2012. Member, BA, Yale University. MA, PhD, University of Virginia. International Alliance of Women Musicians, Special interest in British Romantic poetry, Romantic International Society of Improvised Music, and legacies in modern and contemporary poetry, and International Trombone Association. Author: Hooked the history of criticism and theory. Essays published on Multiphonics. (July 2016). Collaborates with artists throughout the world in site-specific, mixed- FACULTY 191 media performances, concert halls, solo and The Boys of My Youth, a collection of chamber commissions. Featured on the soundtrack autobiographical essays, as well as essays/articles to Werner Herzog's Oscar-nominated Encounters at published in magazines, journals, and anthologies. the End of the World. Toured with Arijit Singh, Karole Recipient of a Whiting Writers’ Award and a Armitage, Mansour, new music ensembles S.E.M. and Guggenheim Fellowship. SLC, 2000–2005, 2007– TILT brass, and the mobile ensemble Asphalt Orchestra (founding member). SLC, 2017– Roy Ben-Shai Philosophy BA, Tel-Aviv University, Israel. MA, PhD, New School Yevgeniya Baras Visual and Studio Arts for Social Research. Interests in 19th- to 20th- BA, MS, University of Pennsylvania. MFA, School of century Continental philosophy—in particular, the Art Institute of Chicago. Baras exhibited her work Nietzsche, Heidegger, and French post- in several New York and Los Angeles galleries and structuralism—and in the history of modern internationally. She is represented by Nicelle philosophy. Editor of The Politics of Nihilism: From the Beauchene Gallery in New York. She received the Nineteenth Century to Contemporary Israel. Former Pollock-Krasner grant and the Chinati residency in recipient of an Andrew W. Mellon postdoctoral 2018 and the Yaddo residency in 2017. She received fellowship at Haverford College. Previously taught at the Artadia Prize and was selected for the Sharpe- Eugene Lang College (NY), Bifrost University Walentas Studio Program and the MacDowell Colony (Iceland), Fairfield University (CT), and Stony Brook residency in 2015. In 2014, Baras was named the University (NY). SLC, 2018– recipient of the Rema Hort Mann Foundation’s Emerging Artist Prize. Her work has been reviewed in Shoumik Bhattacharya Lesbian, Gay, Bisexual, and The New York Times, The Los Angeles Times, Transgender Studies ArtForum, and Art in America. She has taught BA, Sarah Lawrence College. MPhil, Graduate Center painting, drawing, and art history at Rhode Island of the City University of New York. Special interests School of Design, CUNY, and Hofstra University. SLC, include postcolonial literatures, gender and queer 2018- studies, and the environmental humanities. SLC, 2019- Carl Barenboim Psychology (on leave spring semester) Phillip Birch Filmmaking and Moving Image Arts BA, Clark University. PhD, University of Rochester. A visual artist working with 3D animation, sculpture, Special interest in the child’s developing ability to game design and performance, Birch's work is in art reason about the social world, as well as the relation collections around the world, including the Whitney between children’s social thinking and social Museum of American Art. Recent exhibitions include behavior; articles and chapters on children’s Sculpture Center, NY; Lyles and King, NY; and the perspective-taking, person perception, interpersonal National University of Ireland Galway. Birch has work problem solving, and the ability to infer carelessness with the online video platform DAATA Editions, and in others; past member, Board of Consulting Editors, recent art fairs include NADA Miami, Art Brussels, Developmental Psychology; principal investigator, and Code Copenhagen. He has taught classes in 3D grant from the National Institute of Child Health and modeling, virtual reality, compositing, and the theory Human Development. SLC, 1988– of digital media. Birch is represented in New York by Lyles and King and is an artist-in-residence at Deanna Barenboim Anthropology, Psychology Pioneer Works Winter, 2018/2019. SLC, 2018- BA, Sarah Lawrence College. MA, PhD, University of Chicago. Special interests in political/legal Chester Biscardi Music anthropology and medical/psychiatric anthropology; BA, MA, MM, University of Wisconsin. MMA, DMA, Yale transnational migration, diaspora, and mobilities; University. Composer. Recipient: Rome Prize from race, ethnicity, and indigeneity; urbanism, space, American Academy in Rome, Academy Award in and place; expressive culture; new media; Maya Music and Charles Ives Scholarship from American peoples, languages, and cultures; Mexico and Latin Academy and Institute of Arts and Letters, and Aaron America; North America. Recipient of grants and Copland Award; fellowships from Bogliasco fellowships from US Department of Education, Foundation, Djerassi Foundation, Guggenheim Fulbright, and National Science Foundation. SLC, Foundation, Japan Foundation, MacDowell Colony, 2009–2017; 2018– and Rockefeller Foundation (Bellagio), as well as grants from Fromm Music Foundation at Harvard, Jo Ann Beard Writing Koussevitzky Music Foundation in the Library of BFA, MA, University of Iowa. Essayist and creative Congress, Martha Baird Rockefeller Foundation, Meet nonfiction writer; author of In Zanesville, a novel, and the Composer, National Endowment for the Arts, and 192 Faculty New York Foundation for the Arts, among others. Understand Everything Better by dancer and Music published by C. F. Peters, Merion Music, Inc. of choreographer David Neumann, in which Blow also Theodore Presser Company, and Biscardi Music Press performed; the piece won a 2015 New York Dance and distributed by Classical Vocal Reprints and and Performance “Bessie” Award for Outstanding Theodore Front Musical Literature, Inc. Recordings Production. Blow’s most recent production with appear on the Albany, American Modern Recordings, Royal Osiris Karaoke Ensemble, The Art of Luv Part I: Bridge, CRI (New World Records), Furious Artisans, Elliot, premiered in The Public Theater’s Under the Intim Musik (Sweden), Naxos, New Albion, New Ariel, Radar Festival in January, 2016; it was reviewed in North/South Recordings, Perfect Enemy Records, and The New York Times. Royal Osiris Karaoke Ensemble is Sept Jardins (Canada) labels. Director of the Sarah the recipient of a 2016 Creative Capital award. SLC, Lawrence College Music Program, 1987-2017, and the 2016– first ecipientr of the William Schuman Chair in Music. SLC, 1977– Patti Bradshaw Dance BM, University of Massachusetts. Certified ogay Lucas Blalock Visual and Studio Arts union instructor and Kinetic Awareness instructor. BA, Bard College. Skowhegan School of Painting and Taught at The New School, and Fundação Calouste Sculpture. MFA, UCLA. Exhibited at the Hammer Gulbenkian; workshops at New York University, The Museum, Center for Creative Photography, Dallas Kitchen, hospitals, and various schools and studios in Museum of Art, Contemporary Arts Museum Houston, New York and Greece. Dancer, choreographer, and Marian Goodman Gallery, Hauser and Wirth, and maker of puppet theatre. Work shown at St. Ann’s MoMA PS1. Solo exhibitions: Ramiken Crucible (New Warehouse in 2005 and 2006. SLC, 2000– York), Rodolphe Janssen (Brussels), White Cube (London), Peder Lund (Oslo), and White Flag Projects Marcus Anthony Brock Literature (St. Louis). Work featured in numerous publications, BA, University of California, Los Angeles. MCM, including Art in America, The New York Times, The University of Southern California, Annenberg School New Yorker, Frieze, W, Mousse, Monopol, and for Communication and Journalism. PhD (ABD), Stony Aperture, among others. Artist books: SPBH VII (2014), Brook University. An emphatic purveyor of culture, Inside the White Cub (2014), WINDOWS MIRRORS aesthetics and the human condition. Research TABLETOPS (2013), Towards a Warm Math (2011), and interests include visual culture, Afrofuturism, media I Believe You, Liar (2009). Published writing about art and communications, gender and sexuality, arts and photography includes a growing body of essays, education, subculture, postcolonialism, sartorial experimental writings, and interviews, including symbolism, queer studies, and social justice. SLC, conversations with Zoe Crosher (Aperture 2012), Jeff 2018- Wall (Aperture 2013), and Torbjorn Rodland (Mousse Bella Brodzki Literature 2014), as well as a recent essay rethinking the BA, Sarah Lawrence College. MA, Hebrew University camera as a drawing tool (Foam 2014). SLC, 2015– of Jerusalem. PhD, Brown University. Special Tei Blow Theatre interests in critical and cultural theory, gender A performer and media designer born in Japan, studies, postcolonial studies, translation studies, raised in the United States, and based in Brooklyn, autobiography and life narrative, and modernist and New York, Blow’s work incorporates photography, contemporary fiction. Selected scholarly video, and sound with a focus on found media publications include essays in PMLA, MLN, Yale artifacts. He has performed and designed for The French Studies, Studies in Twentieth-Century Fiction, Laboratory of Dmitry Krymov, Mikhail Baryshnikov, Yale Journal of Criticism, Modern Fiction Studies, Jodi Melnick, Ann Liv Young, Big Dance Theater, David Profils Américains, and in collections such as Neumann, and Deganit Shemy & Company. He also Borderwork: Feminist Engagements with performs as Frustrator on Enemies List Recordings Comparative Literature; Women, Autobiography, and and is one-half of Royal Osiris Karaoke Ensemble. Fiction: A Reader; Critical Cosmos: Latin American Blow’s work has been featured at Hartford Stage, Approaches to Fiction; Feminism and Institutions: A Dance Theater Workshop, Lincoln Center Festival, The Dialogue on Feminist Theory; and MLA Approaches to Kitchen, BAM, The Public Theater, Kate Werble Teaching Representations of the Holocaust. Author of Gallery, Baryshnikov Arts Center, Wadsworth Can These Bones Live?: Translation, Survival, and Atheneum, and at theatres around the world. He is Cultural Memory; co-editor of Life/Lines: Theorizing the recipient of a 2015 New York Dance and Women’s Autobiography. Recipient of National Performance “Bessie” Award for Outstanding Sound Endowment for the Humanities fellowships, Lucius Design. Blow composed the sound score for I FACULTY 193

Littauer Award, and Hewlett-Mellon grants. Visiting Lorayne Carbon Director, Early Childhood professor at Université de Montpellier-Paul Valéry Center—Psychology and Université de Versailles-St. Quentin. SLC, 1984– BA, State University of New York-Buffalo. MSEd, Bank Street College of Education. Special areas of interest Kyle Bukhari Dance include social justice issues in the early childhood BA, Columbia University. MA, University of classroom and creating aesthetic learning Roehampton, London. Danced with the Joffrey Ballet environments for young children. Former early in New York and the Zurich Ballet in Switzerland. childhood teacher and director at Oak Lane Child Winner: Best German Dance Solo (1998). Created Care Center, Chappaqua, New York, and education choreographies for the Augsburg City Theatre; coordinator of the Virginia Marx Children’s Center of Saarland State Theatre in Saarbrucken; the Westchester Community College. An adjunct Tanzfabrik Berlin in Germany; the Centennial of professor at Westchester Community College, Carbon Monte Verità in Ascona, Switzerland (2000); the is a frequent workshop leader and speaker at Swiss Contemporary Dance Days, Lausanne (2002); seminars and conferences on early childhood the Amman Contemporary Dance Festival, Jordan; education. She has been director of the Early and The Season in Beirut, Lebanon (2004). Childhood Center since August 2003 and is a faculty Choreographed and performed at the Whitney advisor to the College's Child Development Institute. Museum in Berlin Sun Theater with anthropologist SLC, 2003– Michael Taussig (2013) and at the Museum of the City of New York (2014). Currently collaborates with David Castriota Mary Griggs Burke Chair in Art & Art Jodi Melnick and Yanira Castro. Has taught at History—Art History Barnard College, Pratt University, Joffrey Ballet BA, New York University. MA, MPhil, PhD, Columbia School, Zurich Dance Theatre School, and Tanzhaus University. Special interests in Greek art of the Zurich. US-UK Fulbright Fellow in Dance in London, classical and Hellenistic periods, Roman art of the United Kingdom (2013-14). Presentations at Columbia late republic and early empire, and the art of University; University of Ghent, Belgium; University of prehistoric Europe; author of Myth, Ethos, and Groningen, Holland; Video Art Festival, Camaguey, Actuality: Official Art in Fifth-Century B.C. Athens, The Cuba; and Center for Ballet and the Arts, New York Ara Pacis Augustae and the Imagery of Abundance in University (2014-16). Current research focuses on Later Greek and Early Roman Imperial Art, and a dance philosophy and intermediality in works of critical commentary on Alois Riegl’s Problems of artists such as Yvonne Rainer, Richard Serra, Michael Style: Foundations for a History of Ornament; editor Clark, and Charles Atlas. SLC, 2016– of Artistic Strategy and the Rhetoric of Power: Political Uses of Art from Antiquity to the Present; Melvin Jules Bukiet Writing (on leave spring recipient of fellowships from the Dumbarton Oaks semester) Center for Early Christian and Byzantine Art and the BA, Sarah Lawrence College. MFA, Columbia Society of Fellows of Columbia University and of University. Author of Sandman’s Dust, Stories of an grants from the National Endowment for the Imaginary Childhood, While the Messiah Tarries, After, Humanities and the American Philosophical Society. Signs and Wonders, Strange Fire, and A Faker’s Dozen; SLC, 1992– editor of Neurotica, Nothing Makes You Free, and Scribblers on the Roof. Works have been translated William Catanzaro Dance into a half-dozen languages and frequently Composer and multi-instrumentalist; recognition anthologized; winner of the Edward Lewis Wallant and funding from NEA, The Samuel S. Fels Fund, New Award and other prizes; stories published in Antaeus, York State Council on the Arts, Harkness Foundation, The Paris Review, and other magazines; essays NYU Humanities Council, NYU Service/Learning Fund; published in The New York Times, Washington Post, commissions include choreographers Anna Sokolow, Los Angeles Times, and other newspapers. SLC, 1993– Steve Paxton, Viola Farber, Milton Myers; work presented nationally and internationally with the Gary Burnley Visual and Studio Arts New Danish Dance Theatre, TanzFabrik Berlin, BFA, Washington University. MFA, Yale University. Solo Amsterdam Theatreschool, Cyprus Festival, Teatro and group exhibitions in the United States and San Martin, The Alvin Ailey School, Philadanco, Europe; works included in major private, corporate, Player’s Project, Dallas Black Theatre, Jacob’s Pillow, and museum collections; awards and fellowships DTW, and others. Former accompanist and teacher of include the Federal Design Achievement Award, music for dancers at The Juilliard School, Marymount National Endowment for the Arts, New York State Manhattan College, José Limón School, Martha Council, and CAPS; public commissions include the Graham School, New York University. Current faculty MTA and St. Louis Bi-State Development. SLC, 1980– 194 Faculty at The Alvin Ailey School and Steps on Broadway; History and Theory, Journal of American History, music director for the Young Dancemakers Company. Reviews in American History, and Journal of the Early SLC, 2003– Republic. SLC, 1999–

Janet Charleston Dance Kim Christensen Economics (on leave fall semester) MFA, University of Illinois–Urbana-Champaign. BA, Earlham College. PhD, University of Charleston danced and toured extensively with the Massachusetts-Amherst. Taught economics and Lucinda Childs Dance Company; performed in the women’s/gender studies (1985-2010) at SUNY- world tour of the Robert Wilson/Philip Glass opera, Purchase, where she received several awards for her Einstein on the Beach; and was a performer, teaching: four-time recipient of the Students’ Union rehearsal director, and company manager with Award for Outstanding Teaching in the Letters and Douglas Dunn + Dancers. She currently dances with Sciences; the first ecipientr of the President’s Award Christopher Williams and has worked with an array for Innovative Pedagogy; and, in 1992, recipient of of other artists, including Chamecki/Lerner, Kota the statewide SUNY Chancellor’s Award for Yamazaki, David Parker/The Bang Group, RoseAnne Distinguished College Teaching. Taught economics, Spradlin, Stephen Koester, and June Finch. Charleston labor history, and public policy as a guest faculty was nvited by Merce Cunningham to teach at the member at Sarah Lawrence College. Research Cunningham Studio and was on the faculty for 12 focuses on the intersection of economics with public years. She teaches in the Joffrey Jazz and policy issues, with a particular emphasis on issues of Contemporary Trainee Program and previously was race, gender, class, and labor; e.g., the experiences of visiting lecturer at the University of Illinois–Urbana- low-income women in the AIDS crisis, the politics of Champaign and the University of Kansas; guest welfare “reform,” the “gendered” nature of the teacher at Barnard College; and teacher at many recent recession, and the impact of our campaign other universities and professional studios, including finance system on public policy. SLC, 2008– SUNY-Purchase, New York University's Tisch School of the Arts, New York Univeristy Steinhardt, Hofstra Una Chung Hyman H. Kleinman Fellowship in the University, Franklin & Marshall, ACDFA, SEAD Humanities—Literature (on leave spring (Salzburg, Austria), and El Centro Cultural Los semester) Talleres (Mexico City). Charleston has taught yoga BA, University of California-Berkeley. PhD, Graduate and movement for children, the elderly, and people Center of the City University of New York. Special with Parkinson’s Disease. Her choreography has been interests include Asian American and postcolonial presented at venues in New York City, Illinois, literatures, new media studies, and critical theory. Kansas, Missouri, Arizona, and South America. A SLC, 2007– Fulbright Scholar in Santiago, Chile, she Heather Cleary Spanish subsequently served as Peer Reviewer in Dance for BA, MA, New York University. PhD, Columbia the Fulbright organization. SLC, 2019– University. Special interests include contemporary Priscilla Chen Spanish Latin American culture, the theory and practice of BA, State University of New York-Stony Brook. MA, translation, and creative production in the digital Queens College. Currently completing a doctorate in age. Essays published in Hispanic Review and Mutatis Spanish literature at the Graduate Center of the City Mutandis; translations published by New Directions University of New York. Special interests include (Poems to Read on a Streetcar by Oliverio Girondo) Golden Age peninsular literature, Latin American and Open Letter Books (The Dark and The Planets by literature and culture in general, and fiction. SLC, Sergio Chejfec). SLC 2015– 2004– Shamus Clisset Visual and Studio Arts Eileen Ka-May Cheng History BFA, The College of Santa Fe, New Mexico. Digital BA, Harvard University. MA, MPhil, PhD, Yale artist and master printer working with 3D modeling, University. Special interest in early American history, rendering, and multidisciplinary digital media. with an emphasis on the American Revolution and Exhibitions include Galerie Jette Rudolph and Galerie the early American republic, European and American Thomas Flor, both in Berlin, and Tracy Williams, Ltd. intellectual history, and historiography. Author of in New York. Recent projects include Empties at The Plain and Noble Garb of Truth: Nationalism and Caesura Gallery (Caesura.cc) and FakeShamus: Impartiality in American Historical Writing, Manifest Destinaut, featured in BEAUTIFUL/DECAY 1784-1860; author of articles and book reviews for Book 8: Strange Daze. As a master printer, he has produced exhibition prints for galleries and museums all over the world, including MoMA, The FACULTY 195

Guggenheim, The Metropolitan Museum of Art, and titled, Ici Ou Ailleurs. Taught at the University of SFMoMA. Recent highlights include prints for the Florida, Brown University, and Yale University. SLC Maurizio Cattelan retrospective at The Guggenheim 2016– and the first solo show of photographs by the late war photographer, Tim Hetherington, at Yossi Milo in Elliot Cowan Filmmaking and Moving Image Arts New York. SLC, 2012– Independent College of Art and Design, Melbourne, Australia. Victorian College of the Arts, Melbourne, Kevin Confoy Theatre Australia. An award-winning animator, writer, artist, BA, Rutgers College. Certificate, London Academy of and educator, Cowan spent nearly 11 years in Music and Dramatic Art (LAMDA). Graduate, The Tasmania writing, directing, and editing low-budget Conservatory at the Classic Stage Company (CSC), television commercials. In 2006, he worked for Uli Playwrights Horizons Theatre School Directing Meyer Animation, in London, as a story artist and gag Program. Actor, director, and producer of Off man on the feature film Monster Mania. He Broadway and regional productions; resident conceived the characters Boxhead and Roundhead, director, Forestburgh Playhouse; producer/producing who appeared in several award-winning short films, artistic director, Sarah Lawrence theatre program as well as an animated feature currently on the (1994-2008); executive producer, Ensemble Studio festival circuit. His drawings, prints, sculptures, and Theatre, New York (1992-94); associate artistic paintings have been shown in Melbourne, Hobart, director, Elysium Theatre Company, New York and Launceston in Australia, as well as in Los (1990-92); manager, development/marketing Angeles, Chatanooga, Chicago, and New York. In 2007, departments of Circle Repertory Company, New York. he moved to New York where he paints and draws, Recipient of two grants from the Alfred P. Sloan makes sculptures out of foam core and cardboard, Foundation; OBIE Award, Outstanding Achievement and teaches animation. He has completed animation, Off and Off-Off Broadway (producer, E.S.T. Marathon storyboarding, writing, and story consultation for of One-Act Plays); nomination, Drama Desk Award, Sesame Workshop, Elizabeth Arden, Nathan Love, Outstanding Revival of a Play (acting company); PBS, Ace and Son Moving Picture Company, The Logo director, first (original) productions of 13 published Network, and Uli Meyer Animation. In 2016, Cowan plays. SLC, 1994– spent a week working with visual artist Wayne White on his big history and art project, Wayne-O-Rama. Lacina Coulibaly Dance Currently, he is working with Oscar-nominated Irish Raised in Ouagadougou, Burkina Faso. Trained in studio Cartoon Saloon (Secret of Kells, Song of the West African dance and European contemporary Sea, The Breadwinner) on its new film, Wolfwalkers. dance, dancing with the Ballet National du Burkina SLC, 2019- Faso, Compagnie Salia Nï Seydou, and Irène Tassambedo before co-founding Kongo Ba Teria with Michael Cramer Film History Souleymane Badolo. Reshaping traditional values to BA, Columbia University. MA, MPhil, PhD, Yale speak to present-day concerns, Kongo BaTeria is a University. Author of several articles on European leading promoter of contemporary dance in West cinema and television and the book Utopian Africa. From 1996-2000, Compagnie Kongo Ba Téria Television: Roberto Rossellini, Peter Watkins, and performed on many African stages in countries such Jean-Luc Godard Beyond Cinema (University of as Senegal, Ivory Coast, Benin, and Cameroon. Since Minnesota Press, 2017). Special interests in film and 2000, the company has toured throughout Europe, media theory, European cinema of the 1960s and including France, Italy, Denmark, Spain, Belgium, and ’70s, contemporary world cinema, the relationship of Germany. Coulibaly and Badolo’s creations have won cinema and television, documentary and nonfiction international awards, including the Pan-African cinema, and the politics of aesthetics. SLC, 2015– competition SANGA. Recent work includes a solo presented at Cornell, New York University, and Jay Craven Filmmaking and Moving Image Arts Stonybrook University, among other venues, and MA, Goddard College. Writer/director/producer: High guest appearances with the internationally known Water (w/Greg Germann, Jane MacFie); Where the Faso Dance Theatre. Featured artist in the Rivers Flow North (w/Rip Torn, Tantoo Cardinal, documentary, Movement (R)evolution Africa, which Michael J. Fox); A Stranger in the Kingdom (w/ Ernie documents the emergent experimental African Hudson, Martin Sheen, David Lansbury); In Jest (w/ dance scene. Recent work includes an ongoing, Bill Raymond, Tantoo Cardinal, Rusty DeWees); Windy multisite research collaboration with Emily Coates, Acres (w/ Ariel Kiley, Bill Raymond, Seana Kofoed, leading to the creation of a work-in-progress duet Rusty DeWees); Disappearances (w/ Kris Kristofferson, Gary Famer, Charlie McDermott, Genevieve Bujold); Northern Borders (w/ Bruce Dern, 196 Faculty Genevieve Bujold, Seamus Davey-Fitzpatrick, Jessica finalist, a Eugene O’Neill semi-finalist, and was Hecht); Peter and John (w/ Jacqueline Bisset, recently workshopped at University of Toronto. Her Christian Coulson, Diane Guerrero); Wetware (w/ short play Man in the Moon was developed and Jerry O’Connell, Cameron Scoggins, Morgan Wolk). presented by The Exquisite Corpse Company, Shirley Writer/director: The Year That Trembled (w/ and Iris was presented at the Going to the River Jonathan Brandis, Marin Hinkle, Fred Willard, Martin Festival at EST, and Jake was produced at New Mull). Documentaries include After the Fog, Dawn of Perspectives Theater and, most recently, at Silver the People, Gayleen, and Approaching the Elephant Spring Stage. SLC, 2019- (producer). Festivals and special screenings include: Sundance, SXSW, AFI Fest, Vienna, Vancouver, Michael Davis Philosophy Avignon, Havana, Lincoln Center, Smithsonian, BA, Cornell University. MA, PhD, Pennsylvania State Harvard Film Archives, Cinematheque Francaise, University. Interests in Greek philosophy, moral and Constitutional Court of Johannesburg, and political philosophy, and philosophy and literature; Cinemateca Nacional de Venezuela. Awards and author of many books, most recently The recognition: Producers Guild of America NOVA Award; Autobiography of Philosophy, a translation of Gotham Award nomination; two National Endowment Aristotle’s On Poetics, and Wonderlust: Ruminations for the Arts (NEA) film production grants; finalist, on Liberal Education; member, editorial board, Critics Week, Cannes Film Festival; selection to the Ancient Philosophy; lecturer, essayist, and reviewer. Sundance Collection at UCLA; NEA’s American SLC, 1977– Masterpieces Program; American Film Institute’s Isabel de Sena Spanish, Literature (on leave fall initial “AFI: Project 20/20 International Cultural semester) Exchange.” Founding director and producer of the MA, University of California–Berkeley. PhD, University Movies From Marlboro film-intensive program, where of California–Santa Barbara. Published works on late 24 professionals mentor and collaborate with 32 medieval and early Renaissance Peninsular students from a dozen colleges, including Sarah literature, as well as Latin American literature Lawrence. SLC, 2017– (Sarmiento, Altamirano, Manuel de Jesús Galván). Drew E. Cressman Biology Among her translations: Virginia Woolf’s Between the BA, Swarthmore College. PhD, University of Acts (into Portuguese) and Caetano Veloso’s Tropical Pennsylvania. Special interest in the molecular basis Truth: A Story of Music and Revolution in Brazil of gene regulation and the control of gene (Knopff, 2002). Taught at King’s College (London), expression; specifically focused on the control of Princeton, and Goucher College; the first esidentr antigen-presenting genes of the immune system and director of the Sarah Lawrence in Cuba program the subcellular localization of the regulatory protein (2001-04). Currently at work on a bilingual edition of CIITA; author of papers on mammalian liver short tales from the Spanish-speaking world. SLC, regeneration and CIITA activity; recipient of grants 1997– from the Irvington Institute for Biomedical Research Robert R. Desjarlais Anthropology (on leave spring and the National Science Foundation. SLC, 2000– semester) Sandra Daley Theatre BA, University of Massachusetts-Amherst. MA, PhD, MFA, Hunter College. An Afro-Caribbean artist living University of California-Los Angeles. Special interests in Harlem, Daley has earned her merits over 20 years in the cultural construction of experience, as an OBIE Award-winning producer, award-winning subjectivity and intersubjectivity, death and playwright, director, actress, and dramaturg. She is a mourning, and the political economy of illness and recipient of the Josephine Abady Award. At Hunter healing; ethnographic fieldwork in the Nepal College, she studied playwriting under the Himalayas, with the residents of a homeless shelter mentorship of Annie Baker and Branden Jacobs- in Boston, and among competitive chess players; Jenkins. Two of Daley's plays made it to the Kilroys author of Body and Emotion: The Aesthetics of Illness List 2017. Most recently, The Fire This Time presented and Healing in the Nepal Himalayas; Shelter Blues: a reading of her full-length play, Hedda: A Portrait of Sanity and Selfhood Among the Homeless; Sensory a (Young) Woman, and a production of her short Biographies: Lives and Deaths Among Nepal’s Yolmo play, Anonymous, which was also produced by the Buddhists; and Counterplay: an Anthropologist at the EstroGenius Festival. Her play Straddling the Edge is a Chessboard. Recipient of a Guggenheim fellowship Barbour Award finalist and was ecr ently and a Howard fellowship. NIMH postdoctoral workshopped at the cell theatre, directed by Kira research fellow at Harvard Medical School. SLC, Simring. Les Fréres is a Bay Area Playwrights Festival 1994– FACULTY 197

Ellen Di Giovanni French Jerrilynn Dodds Harlequin Adair Dammann Chair in BA, Tufts University. Licence ès Lettres, Université Islamic Studies—Art History Paris 8. MA, Columbia University. Special interest in BA, Barnard College. MA, PhD, Harvard University. the use of literary texts as source material for the Work has centered on issues of artistic stage. Creator of How to Write a Letter, an ensemble- interchange—in particular, among Christians, Jews, based theatre piece based on the 17th-century and Muslims—and how groups form identities letters of Marie de Rabutin-Chantal, Madame de through art and architecture; special interest in the Sévigné. SLC, 2019- arts of Spain and the history of architecture. Author of Architecture and Ideology in Early Medieval Spain Ivi Diamantopoulou Visual and Studio Arts and NY Masjid: The Mosques of New York and co- MArch, Princeton University School of Architecture author of Arts of Intimacy: Christians, Jews, and (Suzanne Kolarik Underwood Prize for excellence in Muslims in the Making of Castilian Culture, among design; Stanley J Seeger fellow). BArch/MArch, Patras other books and publications. Dean of the College, School of Architecture, Greece. New York-based 2009-15. SLC, 2009– designer and educator; co-principal of award- winning firm, New Affiliates (new-affiliates.us). Her Roland Dollinger German, Literature work has been exhibited at the Venice Architecture BA, University of Augsburg, Germany. MA, University Biennial, Storefront for Art and Architecture, Onassis of Pittsburgh. PhD, Princeton University. Special Cultural Center, Harvard Graduate School of Design, interest in 20th-century German and Austrian and various small galleries internationally. As a literature; author of Totalität und Totalitarismus: Das designer, she has collaborated with art and Exilwerk Alfred Döblins and several essays and book architecture institutions, including the Jewish reviews on 19th- and 20th-century German Museum of New York, the Metropolitan Museum of literature; co-editor of Unus Mundus: Kosmos and Art, the Shed, and the Canadian Centre for Sympathie, Naturphilosophie, and Philosophia Architecture. Her design work and writings have Naturalis. SLC, 1989– appeared in various periodicals in the United States, Europe, and Asia including, Metropolis magazine, The Aurora Donzelli Anthropology (on leave fall Architect’s Newspaper, Dwell, and Domus. SLC, 2018– semester) BA, MA, University of Pavia, Italy. PhD, University of David Diamond Theatre Milano-Bicocca, Italy. Special interests in linguistic anthropology, political oratory and ritual speech, Mary Dillard Director, Graduate Program in Women’s vernacular practical philosophies, ethnopoetics, History—History missionization, and the emergence of colonial BA, Stanford University. MA, PhD, University of discourse genres; ethnographic fieldwork in California-Los Angeles. Special interests include Southeast Asia (upland Sulawesi and East Timor); history of West Africa, particularly Ghana and author of several articles on language and ethnicity, Nigeria; history of intelligence testing and external local theories of action, power and emotions, verbal examinations in Africa; history of science in Africa; art, and language ideologies. FCT postdoctoral and gender and education. Recipient of a Spencer research fellow at Institute of Theoretical and fellowship and Major Cultures fellowship at Columbia Computational Linguistics in Lisbon, and Endangered University’s Society of Fellows in the Humanities. Languages Academic Programme (SOAS) in London. SLC, 2001– SLC, 2009–

Beth Ann Ditkoff Biology Jason Douglass Film History, Filmmaking and Moving BA, Yale University. MD, The Johns Hopkins School of Image Arts Medicine. Former surgical oncologist at New York- BA, MA, Yale University. Special interests in Presbyterian Hospital, Columbia University Medical animation, film and media theory, and bringing Center; Department of Surgery, College of Physicians questions of gender, race, sexuality, and class to & Surgeons, Columbia University. Author of The bear on the history of East Asian cinema. Studied Thyroid Guide (HarperCollins, 2000) and Why Don’t filmmaking at the Film and TV School of the Academy Your Eyelashes Grow? Curious Questions Kids Ask of Performing Arts in Prague, Chinese at National About the Human Body (Penguin, 2008). SLC, 2010– Taiwan University, and Japanese at numerous institutions including the Inter-University Center for Natalia Dizenko Russian Japanese Language Studies in Yokohama. Recipient of awards and fellowships from the Society for Animation Studies, the Richard U. Light Fellowship, Yale’s Council on East Asian Studies, and Yale’s Fund 198 Faculty for Lesbian and Gay Studies. His recent publications include Random House, General Electric, IBM, can be found in Film Quarterly, Animation Studies McGraw-Hill, Petroplus Holdings (Switzerland), Online Journal, Animation Studies 2.0, and the Seagram‘s (Montreal), and US Embassy (Stockholm). forthcoming edited collection Animation and Currently producing work for exhibitions, creating Advertising (eds. Kirsten Moana Thompson and hand-drawn animated shorts, and developing a Malcolm Cook, Palgrave Macmillan). His past series of e-book artist catalogues. SLC, 2012– translation projects include a special exhibition and catalogue for the Tokyo Metropolitan Art Museum, Glenn Dynner Religion (on leave fall semester) volunteer work at the Yamagata International BA, Brandeis University. MA, McGill University. PhD, Documentary Film Festival, and a year-in-review Brandeis University. Scholar of East European Jewry, publication for the city of Matsudo’s Artist in with a focus on the social history of Hasidism and Residence program. In addition to his contributions the Haskalah (Jewish Enlightenment). Author of Men at Sarah Lawrence College and Yale, he has of Silk: The Hasidic Conquest of Polish Jewish Society, presented his research at New York University, which received a Koret Publication Award and was a Boston University, University of Tübingen, University National Jewish Book Awards finalist. Received of California-Los Angeles, the Kyoto Manga textual training in several Israeli yeshivas and the Museum, and at international conferences hosted by Hebrew University of Jerusalem. Additional interests the Society for Animation Studies and the Society for include Polish-Jewish relations, Jewish economic Cinema and Media Studies. SLC, 2019- history, and popular religion. Recipient of the Fulbright Award. Member (2010-11), Institute for Charlotte L. Doyle Psychology (on leave spring Advanced Study, Princeton University. SLC, 2004– semester) BA, Temple University. MA, PhD, University of Jason Earle French, Literature Michigan. A generalist in psychology with special AB, University of Chicago. MA, MPhil, PhD, Columbia interests in the creative process, psychological University. Area of specialization: 20th-century theory, and children’s literature. Articles written on French literature. Dissertation on secret societies the creative process in art, the fiction-writing and conspiracies in interwar French literature. episode, facilitating creativity in children, and the Research interests include 19th- and 20th-century definition of psychology. Books include Explorations French literature and cultural history, literature and in Psychology (a textbook) and seven picture books politics, history and theory of the novel, and the for children: Hello Baby, Freddie’s Spaghetti, Where’s avant-garde. SLC, 2012– Bunny’s Mommy?, You Can’t Catch Me, Twins!, Michael Early Theatre Supermarket!, and The Bouncing Dancing Galloping BFA, New York University Tisch School of the Arts. ABC. SLC, 1966– MFA, Yale University School of Drama. Extensive Jan Drucker Director, Child Development Institute’s experience in Off Broadway and regional theatre, Empowering Teachers Program—Psychology television, and commercials; artist-in-residence, BA, Radcliffe College. PhD, New York University. Oberlin College. SLC, 1998– Clinical and developmental psychologist with June Ekman Theatre teaching and research interests in the areas of BA, Goddard College, University of Illinois. ACAT- developmental and educational theory, child certified Alexander Technique Teacher, 1979. Inventor development, parent guidance, clinical assessment of an ergonomic chair, the Sit-a-Round. Taught the and therapy with children and adolescents, and the Alexander Technique in many venues: the Santa Fe development of imaginative play and other symbolic Opera, Riverside Studios in London, Utrecht in The processes in early childhood and their impact on Netherlands; dancer, Judson Dance Theatre, Alwin later development. Professional writings have Nikolais, Anna Halprin, and others; direction and centered on various forms of early symbolization in choreography Off Broadway; appeared in Innovation development and in clinical work with children. SLC, (PBS); Off-Off Broadway Review Award, 1995-1996. 1972– SLC, 1987– Scott Duce Filmmaking and Moving Image Arts Matthew Ellis Christian A. Johnson Endeavor BFA, University of Utah. MFA, Boston University. Visual Foundation Chair in Middle Eastern Studies and artist with multiple awards and grants, including a International Affairs—History National Endowment for the Arts artist grant. BA, Williams College. MPhil, University of Oxford. MA, Exhibitions include solo exhibits in New York City, PhD, Princeton University. Specializes in the social, Chicago, Atlanta, Boston, and internationally in Paris, intellectual, and cultural history of the modern Barbizon, Florence, and Lima. Notable collections FACULTY 199

Middle East. His first book, Desert Borderland: The Elephant Man. Her lighting of Amadeus won a Tony Making of Modern Egypt and Libya (Stanford award. Worked at the John F. Kennedy Center, the University Press, 2018), examines the impact of Guthrie, Arena Stage, and the Children’s Theatre of various state-making projects on local experiences Minneapolis. Off Broadway, she lit Vagina of place and belonging in the desert region linking Monologues; worked for Joseph Chaikin and Meredith Egypt and Libya during the late 19th and early 20th Monk; and for Robert Wilson, Einstein on the Beach centuries. Broader intellectual and teaching and The Civil Wars, Part V. Her designs for dance interests include: the politics and culture of include works by Martha Graham, Trisha Brown, Alvin nationalism, modernity and identity formation in the Ailey, and Merce Cunningham. Received seven Tony Ottoman and post-Ottoman Arab world, cities and nominations, the 1976 Lumen award, 1984 and 1986 imagined urbanism, nostalgia and the politics of Bessies, a 1980 Obie for Distinguished Lighting, and collective memory, popular culture, the several Maharam/American Theatre Wing design historiography of borderlands, comparative British awards. SLC, 2011– and French empires, and the history of geography and cartography. Articles published in History Margarita Fajardo Alice Stone Ilchman Chair in Compass and The Long 1890s in Egypt: Colonial Comparative and International Studies Quiescence, Subterranean Resistance (Edinburgh —History University Press, 2014). Research was supported by BA, Universidad de los Andes, Bogotá, Colombia. MA, grants from the Social Science Research Council and PhD, Princeton University. Historian of modern Latin the American Research Center in Egypt. Recipient of America, especially of Brazil, Chile, and Colombia. a Fulbright-IIE grant to Egypt. Member of the Interested in researching, writing, and teaching American Historical Association and the Middle East histories of capitalism from Latin America and the Studies Association of North America. SLC, 2012– Global South. In 2018, she received a National Endowment for the Humanities Fellowship to Brian Emery Filmmaking and Moving Image Arts complete her first book project, tentatively titled The BA, Sarah Lawrence College. FAMU (film school), World that Latin America Created, which traces the Czech Republic. As technical director of the origins of dependency theory—one of the most Filmmaking & Moving Image Arts Program at Sarah important paradigms of economic development and Lawrence College, he oversees the equipment and globalization. Focusing on a transnational network technology resources of the program and manages a of economists and sociologists, diplomats and team of student workers. He is an Apple-certified policymakers whose nexus was the United Nations trainer in both Final Cut Pro 7 and X and a certified Economic Commission for Latin America (ECLA in trainer in Blackmagic DaVinci Resolve. Emery has English and CEPAL in Spanish and Portuguese), the taught camera, editing, and production workshops at book examines the transformation of ideas about the New York International Film Institute since 2006 economic development and capitalism in the three and at Sarah Lawrence College since 2008. His decades after World War II. The book challenges freelance filmmaking and editing clients include widespread assumptions about the origins and TED, YouTube Creator Studios, AbelCine, and Kodak, scope of dependency theory and recasts the political among others. Recent editing projects have garnered project of regional intellectuals in the global sphere. film estivalf success, received the Jury Award by the Her articles have been published in the Latin DGA East, and screened both nationally and American Research Review and an edited volume internationally. Emery has served as camera on The Developmental State (Cambridge University operator and editor for several Sarah Lawrence Press, forthcoming). Broader research and teachings projects, including the Web series Socially Active and interests include: history and theory of capitalism, Providers and the feature film Elusive. He was the imperialism and global history, colonial and modern cinematographer and colorist on the feature film Red Latin America, politics of knowledge and science, Monsoon, shot on location in Kathmandhu, Nepal. His and the dynamics of policymaking. SLC, 2015- own short films have been screened at dozens of film estivalsf all over the world. SLC, 2018- Fang-yi Chao Chinese BA, National Tsing Hua University, Taiwan. MA, Beverly Emmons Dance Tunghai University, Taiwan. PhD, Ohio State BA, Sarah Lawrence College. Designed lighting for University. Doctoral dissertation: The Sound System Broadway, Off Broadway, regional theatre, dance, of the Qieyun: a Phonemic Interpretation. Special and opera in the United States and abroad. Broadway interests include intercultural communication, credits include Annie Get Your Gun, Jekyll & Hyde, The Chinese second-language acquisition, Chinese Heiress, Stephen Sondheim’s Passion, and The 200 Faculty language pedagogy, Chinese dialectology, and Nouspace Gallery (Vancouver), D-Art Gallery Chinese historical linguistics with emphasis on (London), International Conference on Information Middle Chinese. SLC, 2019- Visualization (Montpellier), International Conference of Computer Graphics, Imaging and Visualization Christine Farrell Theatre (Taiwan), and TechFest (Mumbai). Interests include BA, Marquette University. MFA, Columbia University. interaction design, narrative, immersive One-Year Study Abroad, Oxford, England. Actress, environment, playability, mobile art, experimental playwright, director. Appeared for nine seasons as video, generative art, installation, media Pam Shrier, the ballistics detective on Law and Order. architecture, and new media urbanism. SLC, 2010– Acting credits on TV include Saturday Night Live and One Life to Live; films, Ice Storm, Fatal Attraction; Carolyn Ferrell Writing stage: Comedy of Errors, Uncle Vanya, Catholic School BA, Sarah Lawrence College. MA, City College of New Girls, Division Street, The Dining Room. Two published York. Author of the short-story collection, Don’t Erase plays: Mama Drama and The Once Attractive Woman. Me, awarded the Art Seidenbaum Award of the Los Directed in colleges, as well as Off Broadway, and Angeles Times Book Prize, John C. Zachiris Award was the artistic director and co-founder of the New given by Ploughshares, and Quality Paperback Book York Team for TheatreSports. Performed in comedy Prize for First Fiction. Stories anthologized in Best improvisation throughout the world. SLC, 1991– American Short Stories 2018; The Best American Short Stories of the Century; Giant Steps: The New Kim Ferguson (Kim Johnson) Dean of Graduate and Generation of African American Writers; The Blue Professional Studies, Roy E. Larsen Chair in Light Corner: Black Women Writing on Passion, Sex, Psychology—Psychology and Romantic Love; and Children of the Night: The BA, Knox College. MA, PhD, Cornell University. Special Best Short Stories by Black Writers, 1967 to the interests include sustainable, community based Present. Recipient of grants from the Fulbright participatory action research, cultural-ecological Association, German Academic Exchange (D.A.A.D.), approaches to infant and child development, City University of New York MAGNET Program, and children at risk (children in poverty, HIV/AIDS National Endowment for the Arts (Literature fellow orphans, children in institutionalized care), for 2004). SLC, 1996– community play spaces, development in Southern and Eastern African contexts, and the impacts of the Barbara Forbes Dance physical environment on children’s health and Royal Academy of Dancing, London. Institute of wellbeing. Choreology, London. Imperial Society of Teachers of Areas of academic specialization include Dancing, London: Cecchetti Method. Previously on southern African and North American infants' faculty of National Ballet School of Canada, Alvin language learning, categorization, and face Ailey School, New York University, and Finis Jhung processing, the physical environment and global Studio. Ballet mistress and teacher: Joffrey Ballet, children’s health and wellbeing, community New Orleans Ballet, and Chamber Ballet USA. adventure play experiences, adolescents’ remote Currently Feldenkrais practitioner at Feldenkrais acculturation in southern African contexts, and Learning Center, New York City. SLC, 2000– relationships between the quality of southern African orphan care contexts and child development Emma Forrester Psychology and health. SLC, 2007- BA, Sarah Lawrence College. PhD, Derner School of Psychology, Adelphi University. Clinical psychologist Angela Ferraiolo Visual and Studio Arts with special interests in complex trauma, post- BLS, SUNY–Purchase. MFA, CUNY Hunter College. MFA, traumatic growth, trauma recovery across the Brown University. Professional work includes RKO, lifespan, and psychodynamic approaches to working H20 Studios, Westwood Studios, Electronic Arts, with trauma and neurodevelopmental delays. SLC, Hansen Literary. Solo and group screenings in the 2018– United States and Europe, including SIGGRAPH (Los Angeles), ISEA (Hong Kong), New York Film Festival, Joseph C. Forte The Esther Raushenbush Chair—Art Courtisane Festival (Ghent), Collectif Jeune Cinéma History (Paris), Copacabana Media Festival (Ghent), BA, Brooklyn College. MA, MPhil, PhD, Columbia Australian Experimental Film Festival (Melbourne), University. Special interest in art and architecture of International Conference of Generative Art (Rome), the Italian Renaissance and the 17th century, the Digital Fringe (Melbourne), Die Gesellschafter history of architecture, and art and architectural Filmwettbewerb (Germany), Granoff entC er for the Arts (Providence), Microscope Gallery (Bushwick), FACULTY 201 theory. Author of articles on Italian 16th-century Merideth Frey Physics drawings, French painting of the 17th century, and BA, Wellesley College. PhD, Yale University. Past American 19th-century architecture. SLC, 1978– research in novel magnetic resonance imaging (MRI) techniques for 3D imaging of solids and using optical T. Griffith Foulk Religion magnetometry for low-field nuclear magnetic BA, Williams College. MA, PhD, University of Michigan. resonance (NMR). Current research involves building Trained in Zen monasteries in Japan; active in a low-field magnetic esonancr e setup to explore Buddhist studies, with research interest in cross-disciplinary MR applications and develop new philosophical, literary, social, and historical aspects MR techniques at low magnetic fields. Previously of East Asian Buddhism, especially the Ch’an/Zen taught courses at Wesleyan University and Princeton tradition. Co-editor in chief, Soto Zen Text Project University, including helping develop investigative (Tokyo); American Academy of Religion Buddhism science learning environment physics labs. SLC, Section steering committee, 1987–1994, 2003–; 2016– board member, Kuroda Institute for the Study of Buddhism and Human Values. Recipient of Fulbright, Marek Fuchs Ellen Kingsley Hirschfeld Chair in Eiheiji, and Japan Foundation fellowships and grants Writing—Writing from American Council of Learned Societies and BA, Drew University. Executive Director of The National Endowment for the Humanities. SLC, 1995– Investigative Journalism and Justice Institute at Sarah Lawrence College. “County Lines” columnist Melissa Frazier Associate Dean of the for The New York Times for six years and also wrote College—Russian, Literature columns for The Wall Street Journal's “Marketwatch” AB, Harvard University. PhD, University of and for Yahoo!. Author of A Cold-Blooded Business, a California–Berkeley. Special interests include the book called “riveting” by Kirkus Reviews. His most 19th-century novel and literature and the literary recent book, Local Heroes, also earned widespread marketplace. Author of articles and books on topics praise, including from ABC News, which called it including Pushkin, Senkovskii, Gogol, Tolstoy, and “elegant…graceful…lively and wonderful.” Recipient Russian Formalism. Awarded the 2007 Jean-Pierre of numerous awards and named the best journalism Barricelli Prize for “Best Work in Romanticism critic in the nation by Talking Biz website at The Studies,” by the International Conference of University of North Carolina School of Journalism and Romanticism, for Romantic Encounters: Writers, Mass Communication. Regularly speaks on business Readers, and the “Library for Reading” (Stanford and journalism issues at venues ranging from annual University Press, 2007). SLC, 1995– meetings of the Society of American Business Editors and Writers to PBS and National Public Radio. When Christine Free Music not writing or teaching, he serves as a volunteer BFA, Carnegie Mellon University. MM, DMA, Stony firefighter. SLC, 2010– Brook University. A mezzo-soprano, Free is distinguished as a concert soloist and operatic Izumi Funayama Japanese performer, navigating baroque, classical, and BA, Waseda University, Japan. MA, Ohio University. contemporary works with ease. Featured roles PhD, The University of Texas-Austin. Doctoral include Dido in Dido and Aeneas, Sesto in La Clemenza Dissertation: Intercultural experiences and practices di Tito, Miriam in Hoiby’s The Scarf, Roméo in I in a Chinese-Japanese joint venture: A study of Capuleti e i Montechhi, and the American premieres narratives and interactions about and beyond of Antioco in Stradella’s La Forza Dell’Amor Paterno “Chinese” and “Japanese.” Associate professor, and Mother in Mark Anthony Turnage’s Greek. She Kumamoto University, Japan; certified professional has performed nationally and internationally, co-active coach, Coach Training Institute; certified notably at the Boston and Amherst Early Music designer and facilitator of LEGO Serious Play Method; Festivals, and with LoftOpera, Stony Brook Opera, certified instructor, Omotesenke tea ceremony. Biber Baroque, and Brandywine Baroque. She has Recipient of Grants-in-Aid for Scientific esearR ch, been on the faculty and conducted the choirs at City The Ministry of Education, Culture, Sports, Science University of New York, Borough of Manhattan and Technology, Japan. Interests include Community College, and Brooklyn College intercultural communication, ethnography, narrative Conservatory Preparatory Center. She is deeply analysis, discourse analysis, intercultural training, interested in the connection between music and and intercultural coaching. SLC, 2014– movement and that relationship in music education; she has presented on this topic at Berklee College of Liza Gabaston French Music and CUNY Brooklyn College. SLC, 2019- Graduate, École Normale Supérieure (rue d’Ulm), Paris. Agrégation in French Literature, Doctorate in 202 Faculty French Literature, Paris-Sorbonne. Dissertation on 2013-2015 New York City Center choreography “Body Language in Proust’s À la recherche du temps fellowship. In 2012, Dance Magazine named Gill one perdu” (Honoré Champion, 2011). Beyond Proust and of the top 25 artists to watch. Guest artist at Barnard the narrative representation of the body, interests College, Eugene Lang College at the New School for include 19th- and early 20th-century literature, Liberal Arts, and Arizona State University. SLC, 2017– history and theory of the novel, and relationships between literature and the visual arts. SLC 2010– Graeme Gillis Theatre Artistic director of Youngblood, the company of Emilia Gambardella Italian emerging playwrights at Ensemble Studio Theatre BA cum laude, Smith College. MA, The Graduate (2012 Obie Award). Director of the E.S.T./Sloan Center, CUNY. Research interests include: Southern Project, a $1.5 million program that fosters plays Italian literature and dialect culture, American and about science, technology, and economics. Worked Italian film and elevision,t seriality, animation, film as a playwright at theatres throughout the United theory, and popular culture. SLC, 2017– States and Canada, including E.S.T. (Youngblood, Marathon of One-Act Plays), Rattlestick, Cherry Lane, Suzanne Gardinier Writing Vampire Cowboys, Williamstown Theatre Festival, BA, University of Massachusetts-Amherst. MFA, Source Theatre (DC), Tarragon Theatre (Toronto). Columbia University. Author of 12 books, most Published by Dramatists Play Service and Applause recently Amérika: The Post-Election Malas 1-9 (2017), Books. Member of the Actors Studio and E.S.T. SLC, Notes from Havana (2016), Carta a una compañera 2013– (2016), Homeland (2011), Iridium & Selected Poems (2010), & Letter from Palestine (2007). Her poetry has Myra Goldberg Writing appeared in Grand Street, The New Yorker, and the BA, University of California–Berkeley. MA, City Wolf magazine in the United Kingdom; her fiction in University of New York. Author of Whistling and The Paris Review & Fiction International’s “Artists in Rosalind: A Family Romance; stories published in Wartime” issue; and her essays in The Manhattan journals, including The Transatlantic Review, Review, The Progressive, & Siècle 21 in Paris. Served Ploughshares, Feminist Studies, The Massachusetts on an American Studies Association Panel called Review and The New England Review, and in the book “American Jews, Israel, & the Palestinian Question,” anthologies Women in Literature, Powers of Desire, and as resident director of the Sarah Lawrence and The World’s Greatest Love Stories and elsewhere College study abroad program in Havana. A recipient in the United States and France; nonfiction published of awards from the New York Foundation for the Arts in Village Voice and elsewhere; recipient of and the Lannan Foundation. SLC, 1994– Lebensberger Foundation grant. SLC, 1985–

Beth Gill Dance Martin Goldray Marjorie Leff Miller acultyF Scholar in BA, New York University’s Tisch School of the Arts. A Music—Music choreographer, Gill has been making contemporary BA, Cornell University. MM, University of Illinois. DMA, dance and performance in New York City since 2005. Yale University. Fulbright scholar in Paris; pianist and Her body of work critically examines issues within conductor, with special interests in 17th- through the fields of ontc emporary dance and performance 20th-century music. Performed extensively and studies through a focused exploration of aesthetics recorded as pianist, soloist, chamber musician, and and perception. Gill has been commissioned by New conductor; performed with most of the major new York Live Arts, The Chocolate Factory Theater, The music ensembles, such as the New Music Consort Kitchen, and Dance Theater Workshop. Her and Speculum Musicae; worked with composers performances have toured nationally and such as Babbitt, Carter, and numerous younger internationally at Fusebox, the Nazareth College Arts composers and premiered new works, including Center Dance Festival, and Dance Umbrella. She is a many written for him. Toured internationally as a 2012 Foundation for Contemporary Art grant member of the Philip Glass Ensemble from recipient, a current member of The Hatchery Project 1983-1996; conducted the premieres of several Glass ,and a 2015-2016 Lower Manhattan Cultural Council operas and appears on many recordings of Glass’s Extended Life Artist in Residence. In 2011, Gill was music. Conducted film soundtracks and worked as awarded two New York State Dance and Performance producer in recording studios. Formerly on the “Bessie” Awards for Outstanding Emerging faculty of the Composers Conference at Wellesley Choreographer and the Juried Award for “the College. 2010 Recipient of the Lipkin Family Prize for choreographer exhibiting some of the most Inspirational Teaching. SLC, 1998– interesting and exciting ideas happening in dance in New York City today.” She was also awarded a FACULTY 203

Peggy Gould Anita Stafford Chair in Service film is acknowledged by the British Film Institute as Learning—Dance one of the “100 Best American Independents.” BFA, MFA, New York University, Tisch School of the Greenwald’s original, acclaimed, groundbreaking Arts. Certified eachert of Alexander Technique; Western, The Ballad of Little Jo, was released assistant to Irene Dowd; private movement worldwide in 1993 by Fine Line Features and education practice in New York City. Other teaching Polygram Filmed Entertainment; it won an affiliations: Smithollege, C The Ailey School/Fordham Independent Spirit Award. Subsequently, she wrote University, Dance Ireland/IMDT, 92nd St. Y/Harkness and directed her music-based drama, Songcatcher, Dance Center, SUNY Purchase (summer), Jacob’s which was inspired by early country ballads; the film Pillow. Performances in works by Patricia Hoffbauer premiered in Dramatic Competition at Sundance and George Emilio Sanchez, Sara Rudner, Joyce S. Lim, 2000, where it garnered a Special Jury Award for David Gordon, Ann Carlson, Charles Moulton, Neo Ensemble Performance. Songcatcher, a Lions Gate Labos, T.W.E.E.D., Tony Kushner, Paula Josa-Jones. release, also received the first Sloan oundationF Choreography presented by Dixon Place, The Field, PS Award, Deauville Film Festival Audience Award, two 122, BACA Downtown (New York City); Big Range Independent Spirit Award nominations, and a GLAAD Dance Festival (Houston); Phantom Theater (Warren, Award nomination. Additionally, Greenwald directed Vermont); Proctor’s Theatre (Schenectady, 2008/09 The Last Keepers, a teen film eleasedr in 2013 by Dangerous Music Commission). Grants: Meet the BCDF Prods. For television, Greenwald directed Composer, Lower Manhattan Cultural Council, Greenwald directed the 2018 Hallmark Christmas Harkness Dance Center. SLC, 1999– film, The House on Honeysuckle Lane. Earlier, she directed episodes of Madam Secretary and Nashville. Robert Gould Theatre Her TV films include the GLAAD warA d-winning What MFA, Sarah Lawrence College. Active in performance Makes a Family (2000), Tempted, and Comfort and Joy art and theatre since the mid-1980s, starting as (2003) for Lifetime Television; Get a Clue (2001) for technical director at The Franklin Furnace Disney Channel; and Good Morning, Killer (2011) for performance space. Co-founded DSR, a sound TNT. Past episodic work includes: The Adventures of performance group, and toured Japan and Europe in Pete & Pete (Cable ACE Award), The Mystery Files of the late ’80s and early ’90s. Assistant Technical Shelby Woo, and Wildfire. Greenwald has taught film Director for the SLC theatre program prior to starting directing and screenwriting at Columbia University his own sound design company. Sound design credits School of the Arts, Graduate Film School (adjunct, include: work for Off Broadway theatre companies, 1996-1999 and lecturer, 2005-2009) and New York including Naked Angels, Clubbed Thumb, Cucaracha University Tisch School of the Arts, Graduate Film and Gabrielle Lansner; in-house sound designer for School (adjunct 2009). SLC, 2012- Ensemble Studio Theatre (1999–2003) and designed most of its yearly Marathon series productions of Sarah Hamill Art History one-act plays during those years; created sound for BA, Reed College. MA, University of California, dance choreographers Jeanine Durning, Hetty King, Berkeley. PhD, University of California, Berkeley. Lans Gries, and Lisa Race; and currently is an audio Specializes in modern and contemporary art history, engineer for CBS News. SLC, 2008– with a focus on sculptural aesthetics, postwar American sculpture, contemporary photography, and Maggie Greenwald Filmmaking and Moving Image the global circulation of art objects through their Arts reproduction and display. Author of David Smith in An award-winning writer-director her most recent Two Dimensions: Photography and the Matter of film, Sophie and the Rising Sun, premiered at Sculpture (University of California Press, 2015), Sundance 2016, at the Salt Lake City Gala. It was awarded a Meiss/Mellon Author’s Book Award and a Greenwald’s third film in the Sundance Film Festival. Wyeth Foundation for American Art Publication Grant Her first film, Home Remedy, screened at the Munich, from the College Art Association in 2013, and, with London, and Torino film estivalsf before opening at Megan R. Luke, co-editor of Photography and the prestigious Film Forum in New York City in 1987. Sculpture: The Art Object in Reproduction (Getty Her film The Kill-Off, a noir thriller based on a novel Publications, 2017). Articles and essays explore the by Jim Thompson, appeared at film estivalsf around work of David Smith’s (1906-1965) across media, the the world, including: Sundance (in Dramatic photography of Ugo Mulas (1928-1973), the Competition) and Munich (opening night, American photographic folios of Clarence Kennedy (1892-1972), Independent section), as well as London, Florence, the sculpture of Eduardo Chillida (1924-2002), and Deauville, Toronto, and Edinburgh before winning the the videos of Erin Shirreff (1977- ). Current projects Best Director Award at the Torino Film Festival. The examine the 1970s sculptures and films of American 204 Faculty sculptor Mary Miss (1944- ), contemporary Ann Heppermann Writing photography and the metaphorization of sculpture, A Brooklyn-based, independent, radio/multimedia and theories of the photographic detail. Formerly documentary producer, transmission sound artist, associate professor of modern and contemporary art and educator, her stories air nationally and at Oberlin College. Recipient of fellowships from the internationally on National Public Radio, the BBC, and American Council of Learned Societies, the Getty on numerous shows, including: This American Life, Research Institute, and Villa I Tatti, the Harvard Radio Lab, Marketplace, Morning Edition, Studio 360, Center for Italian Renaissance Studies. SLC, 2017– and many others. Recipient of Peabody, Associated Press, Edward R. Murrow, and Third Coast Hilda Harris Music International Audio Festival awards. Transmission BA, Doctor of Humane Letters, North Carolina Central artist with free103point9; work exhibited at University. Recipient of the President’s Medal for UnionDocs, Chicago Center for the Arts, and other Distinguished Faculty Service from the Manhattan venues. She has taught classes and workshops at School of Music. Taught voice at The Chautauqua Duke Center for Documentary Studies, Smith College, Institute and at Howard University. Well-known for Columbia University, and the CUNY Graduate School her portrayal of trouser roles—the first African- of Journalism; for years, she was the director of radio American to perform trouser roles at the at Brooklyn College. Co-creator of Mapping Main Metropolitan Opera. Established herself as a singing Street, a collaborative media project documenting actress and has earned critical acclaim in opera, on the nation’s more than 10,000 Main Streets, which the concert stage, and in recital in America and in was created through AIR’s MQ2 initiative along with Europe. Made her Metropolitan Opera debut as The NPR, the CPB, and the Berkman Center at Harvard Student in Lulu and also sang Cherubino (Le Nozze di University. Her work has been funded by the Figaro), The Child (L’Enfant et les Sortileges), Siebel Corporation for Public Broadcasting, Association of (Faust), Stephano (Romeo et Juliette), Hansel (Hansel Independents, Arizona Humanities Council, and & Gretel), and Sesto (Giulio Cesare). Her Berkman Center for Internet and Society at Harvard. accomplishments have been documented in And So I Currently, she is a Rosalynn Carter for Mental Health Sing by Rosalyn M. Story; Black Women in America, An Journalism Fellow and will be making a multimedia Historical Encyclopedia; edited by Darlene Clark documentary about preteen anorexia in partnership Hines; The Music of Black Americans by Eileen with Ms. Magazine and NPR. SLC, 2010– Southern, and African-American Singers by Patricia Turner. Discography includes: “Hilda Harris,” solo Luisa Laura Heredia Joanne Woodward Chair in album; “The Valley Wind,” songs of Hale Smith; “Art Public Policy—Public Policy Songs by Black American Composers,” album; “X, The BA, University of Notre Dame. MA, PhD, Harvard Life and Times of Malcolm X,” CD; “From the South University. Research interests include Latino and Land,” songs and Spirituals by Harry T. Burleigh, CD; immigration politics, with special interests in and “Witness,” Volume II, compositions by William migration control regimes, social movements, Grant Still, CD. Manhattan School of Music, 1991 - inequalities in citizenship, and religion in the United present, Manhattan School of Music Pre-College States and Spain. Current work compares the Faculty 2005 - present, SLC, 1992– development of US and Spain enforcement regimes, their constructions of racialized “illegal” bodies, and Matthea Harvey Writing their radical movements to dismantle the state’s BA, Harvard College. MFA, University of Iowa Writers’ migration control practices. Her first book project, Workshop. Poet, author of Pity the Bathtub Its Forced Illegal Redemption, investigates the crucial yet Embrace of the Human Form (Alice James Books, contradictory role that the Catholic Church has 2000); Sad Little Breathing Machine (Graywolf, 2004); played in challenging a growing and restrictive Modern Life (Graywolf, 2007), winner of the Kingsley regime of immigration control in the United States in Tufts Award, a New York Times Notable Book of 2008, the contemporary period. Author of “From Prayer to and a finalist orf the National Book Critics Circle Protest: The Immigrant Rights Movement and the Award; and a children’s book, The Little General and Catholic Church,” a chapter in the edited volume, the Giant Snowflake, illustrated by Elizabeth Zechel Rallying for Immigrant Rights, by Irene Bloemraad (Soft Skull Press, 2007). Contributing editor for and Kim Voss. SLC, 2014– jubilat and BOMB. Has taught at Warren Wilson, the Pratt Institute, and the University of Houston. SLC, Michelle Hersh Biology 2004– AB, Bryn Mawr College. PhD, Duke University. Postdoctoral Research Associate, Bard College, Cary Mark Helias Music (Contrabass) Institute of Ecosystem Studies. Community ecologist FACULTY 205 with a special interest in the connections between finalist orf the NYPL Young Lions Award. His short biodiversity and disease. Author of articles on how fiction and nonfiction vha e appeared in dozens of fungal seedling pathogens maintain tree diversity in print and online forums, including McSweeney’s, temperate forests and how animal diversity alters Conjunctions, Fence, Agni, The New York Times the risk of tickborne diseases. Recipient of grants Magazine, Poets & Writers, Post Road, The Collagist, from the National Science Foundation. Previously Unsaid, The Black Warrior Review, The Brooklyn Rail, taught at Bard College and Eastern Michigan and Swink. His work has been adapted for film and University. SLC, 2013– frequently anthologized, most notably in Best American Fantasy 2 and 110 Stories: New York Writes Sally Herships Writing After September 11th. SLC, 2002– An award-winning journalist who has been making radio for over a decade, she currently reports for K. J. Holmes Dance American Public Media’s Marketplace. She has also An independent dance artist, singer, poet, actor, and produced or reported for ABC, BBC, The New York teacher, Holmes has helped to define—first as a Times, NPR, WNYC, and Studio 360 and has put in student and now as a teacher and performer—many many hours at Radiolab. Teaches writing for radio at contemporary improvisational dance practices, from Columbia University’s Graduate School of Journalism; studying Ideokinesis with Andre Bernard to colla- hosts the live storytelling night, Stories You Can’t Tell borating with forerunners Simone Forti, Karen on the Radio; and runs the Radio Boot Camp program Nelson, Lisa Nelson, and Image Lab and Steve Paxton. at UnionDocs. Her investigative project, “The Five She is a graduate of the two-year Sanford Meisner Percent Rule,” written about HowSound, was acting training (Esper Studio with master teacher awarded the 2011 Third Coast Radio Impact Award Terry Knickerbocker 2008–09), Satya Yoga (Sondra and Best Prepared Report for the 2011 Front Page Loring 2007), and The School for Body-Mind Awards from the Newswomen’s Club of New York Centering (1995–99), of which the play between is and was an IRE finalist. SLC, 2012– essential to her current practices. A sought-after teacher of improvisation and somatic approaches to Niko Higgins Music dance, theatre, and voice, Holmes travels nationally BA, Wesleyan University. MA, MPhil, PhD, Columbia and internationally teaching and performing at University. Ethnomusicologist and saxophonist. universities, festivals, and venues that range from Interests in South Indian classical music and fusion, theatres to site-specific locations to living rooms; is jazz, world music, improvisation, globalization, adjunct faculty at NYU/Experimental Theatre Wing cosmopolitanism, sound studies, and ecomusicology. since 2001, Julliard; teaches through Movement Author of two articles on South Indian fusion and Research since 1986 (A.I.R 2012–14); and has a leader and producer of two recordings. Taught at private practice in Dynamic Alignment and Re-inte- Columbia University, Montclair State University, and gration. She has performed in the work of Miguel The New School. Fulbright and Fulbright Hays Gutierrez and the Powerful People, Emily Johnson/ recipient. SLC, 2015– Catalyst, Mark Dendy, Lance Gries, Melinda Ring, Matthew Barney, and Cristiane Bouger and is Christopher Hoffman Psychology continuing to develop her solo work. SLC, 2017– BA, Sarah Lawrence College. PhD candidate, CUNY Graduate Center. A professor of environmental James Horowitz Literature psychology and critical social/personality BA, New York University. MA, PhD, Yale University. psychology, Hoffman's work focuses on social and Special interests include Restoration and 18th- environmental contexts that shape identities, century literature, the history of the novel, film and perspectives, and behaviors. His current work film theory, political history, Henry James, and centers on participatory action research gender studies. SLC, 2008– epistemologies and critical consciousness with young people. He is interested in ways in which Marie Howe Writing research can empower communities and influence BS, University of Windsor, Canada. MFA, Columbia policy. Hoffman has taught at City College of New University. Chancellor to the Academy of American York, Changwon Science High School, and the Poets; Poet laureate of New York State; author of Westchester Correctional Facility. He is a former Magdalene; author of The Good Thief, selected by Fulbright grantee. SLC, 2019- Margaret Atwood for the National Poetry Series; editor, with Michael Klein, of In the Company of My David Hollander Writing Solitude: American Writing from the AIDS Pandemic; BA, State University of New York–Purchase. MFA, author of What the Living Do; recipient of the Peter I. Sarah Lawrence College. Author of the novel L.I.E., a B. Lavan Younger Poet Prize from the Academy of 206 Faculty American Poets, the Mary Ingram Bunting fellowship Meghan Jablonski Psychology from Radcliffe College, and grants from the National BA, Muhlenberg College. MA, PhD, The New School for Endowment for the Arts, the Massachusetts Artist Social Research. Clinical psychologist with special Foundation, and the Guggenheim. SLC, 1993– interests in how important relationships shape development, experience, and well-being throughout Eleanor Hullihan Dance the lifespan and in the role of creative process, Performer, choreographer, and teacher, she has mindfulness, and restorative sleep in cultivating performed and created work with John Jasperse, resilience and wellness. Areas of experience include: Beth Gill, Jennifer Monson, Andrew Ondrejcak, Mike attachment theory and human bonding over the life Mills, Jessica Dessner, Sufjan Stevens, Lily Gold, span, relational psychoanalytic theory, brief Rashaun Mitchel, Silas Reiner, Charles Atlas, Zeena relational/psychodynamic psychotherapy and Parkins, and Tere O’Connor, among others. She cognitive-behavioral therapy research, sleep teaches Pilates and body conditioning at her private research, psychological and neuropsychological studio and American Ballet Theatre’s JKO training assessment, clinical practice across all levels of care program. She is currently creating new work with and in underserved communities, creative flow Jimmy Jolliff and Asli Bulbul. SLC, 2017– theory and mindfulness-based practices. Current work is focused on relating, reality, and rest in the Dan Hurlin Director, Graduate Theatre—Theatre digital age. SLC, 2013– BA, Sarah Lawrence College. Performances in New York at Dance Theater Workshop, PS 122, La MaMa John Jasperse Director, Dance Program—Dance E.T.C., Danspace, The Kitchen, St. Ann’s Warehouse, BA, Sarah Lawrence College. Founded John Jasperse and at alternative presenters throughout the United Company, later renamed John Jasperse Projects, in States and the United Kingdom. Recipient of a Village 1989 and has since created 17 evening-length works Voice OBIE Award in 1990 for solo adaptation of through this nonprofit structure, as well as Nathanael West’s A Cool Million and the 2000 New numerous commissions for other companies, York Dance and Performance (“Bessie”) Award for including Baryshnikov’s White Oak Dance Project, Everyday Uses for Sight, Nos. 3 & 7. Recipient of Batsheva Dance Company, and Lyon Opera Ballet. fellowships from National Endowment for the Arts, John Jasperse Projects have been presented in 24 US New Hampshire State Council on the Arts, and cities and 29 countries by presenters that include Guggenheim (2002–2003) and of grants from the Brooklyn Academy of Music, The Joyce Theater, Creative Capital, Rockefeller Foundation, New York New York Live Arts, Dance Theater Workshop, The State Council on the Arts, Mary Cary Flagler Kitchen, Walker Art Center, Museum of Contemporary Charitable Trust, and the New England Foundation Art Chicago, American Dance Festival, La Biennale di for the Arts. Recipient of the Alpert Award in the Arts Venezia, Dance Umbrella London, Montpellier Danse, for Theatre, 2004. Former teacher at Bowdoin, and Tanz im August Berlin. Recipient of a 2014 Doris Bennington, Barnard, and Princeton. SLC, 1997– Duke Artist Award, two Bessie awards (2014, 2001), and multiple fellowships from US Artists, Foundation Vera Iliatova Visual and Studio Arts for Contemporary Arts, Tides/Lambent Foundation, BA, Brandeis University. MFA, Yale University. Guggenheim Foundation, New York Foundation for Represented by Monya Rowe Gallery in New York City, the Arts, and National Endowment for the Arts, in venue of her fifth solo xhibitione in 2015. Work addition to numerous grants and awards for John included in numerous exhibitions in the United Jasperse Projects. On the faculty and taught at many States and abroad at venues that include: Galleria distinguished institutions nationally and Glance, Torino, Italy; Mogadishni Gallery, Copenhagen; internationally, including Hollins University MFA, New Langton Art Center, San Francisco; Artist Space, University of California–Davis, Movement Research, New York; and David Castillo Gallery, Miami. PARTS (Brussels, Belgium), SEAD (Salzburg, Austria), Previously held full-time teaching appointments at Centre National de la Danse (Lyon, France), and Massachusetts College of Art, University of Danscentrum (Stockholm, Sweden). Co-founder of California–Davis, and University of New Hampshire. CPR (Center for Performance Research) in Brooklyn, Recipient of residencies at Skowhegan School of Art NY. SLC, 2016– and Vermont Studio Center; awarded free studio space in The Space Program at the Marie Walsh James Jeter Music Sharpe Foundation, 2007/2008. SLC, 2014– Leah Johnson Writing John Isley Music BA, Indiana University. MFA, Sarah Lawrence College. Author of the forthcoming young adult novel, You Should See Me in a Crown (Scholastic, 2020). The FACULTY 207 former social media editor at Electric Literature, she Service (Fondly, Collette Richland) at New York currently works in web editorial at Catapult. Her Theatre Workshop (NYTW), a 2018 PEN/Laura Pels short stories, essays, interviews, and criticism have International Foundation for Theater Award for been published or are forthcoming in The Huffington American Playwright at Mid-Career (specifically Post, Catapult, Electric Lit, The Adroit Journal, Bustle, honoring "her fine craft, intertextual approach, and The Establishment, Cosmonauts Avenue, and her body of work including Crime or Emergency elsewhere. Her writing has received support from and Let Us Now Praise Susan Sontag), and a 2014 USA the Kimbilio Fiction Fellowship and the Writer’s Block Artists Rockefeller fellowship with NYTW and Writing Downtown Residency. She is currently at director Sarah Benson. She received a 2013 Virginia B. work on her second novel. SLC, 2019- Toulmin Foundation commission for Kyckling and Screaming (a translation/adaptation of Ibsen’s The Elizabeth Johnston Psychology Wild Duck), a 2013-14 McKnight National residency MA, St. Andrew’s University, Scotland. DPhil, Oxford and commission for a new play (The Securely University. Special interests in human perception of Conferred, Vouchsafed Keepsakes of Maery S.), a New three-dimensional shape, binocular vision, and the Dramatists/Full Stage USA commission for a devised perception of depth from motion; author of articles piece (From the Pig Pile: The Requisite Gesture(s) of and book chapters on shape perception from Narrow Approach), and a National Presenters stereopsis, sensorimotor integration, and combining Network Creation Fund Award for the same project. depth information from different sources. SLC, 1992– Her second collaboration with David Neumann/ Advanced Beginner Group, I Understand Everything Kathy Kaufmann Dance Better, received a Bessie Award for Outstanding BA, New York University. Lighting designer for dance Production in 2015; the first was Restless Eye at New and performances around the world for more than York Live Arts in 2012. Current and upcoming projects 20 years. Worked with many fine artists, including include a new opera with David Lang for the Isabella Sally Silvers, Douglas Dunn, David Parker and the Stewart Gardner Museum in Boston for 2018, Bang Group, Maura Donohue, Rebecca Stenn, Ben Sasquatch Rituals at The Kitchen in April 2018, and Munisteri, Eiko & Koma, Adrienne Truscott, Hilary The Securely Conferred, Vouchsafed Keepsakes of Easton, Enrico Wey, Jacques D’Amboise, Paige Martin, Maery S. Kempson is a MacDowell Colony fellow; a Laura Pawel, Keely Garfield, Neta Pulvermacher, member of New Dramatists; a USA Artists Rockefeller Arturo Vidich, Mari Lopez, Michelle Dorrance, fellow; an artist-in-residence at the Abrons Arts Dormeisha Sumbry-Edwards, Amanda Loulaki, Gina Center; a 2014 nominee for the Doris Duke Impact Gibney, Aitana Cordero, Cherylyn Lavagnino, Larissa Award, the Laurents Hatcher Award, and the Herb Velez-Jackson, Roseanne Spradlin, Jack Ferver, Jody Alpert Award; and a New York Theatre Workshop Oberfelder, and Kota Yamazaki. Also lights events for Usual Suspect. Her plays are published by 53rd State The Food Network and was a production manager for Press, PLAY: Journal of Plays, and Performance & Art the Hudson River Festival (now known as River to Journal (PAJ). In addition to Sarah Lawrence College, River) for 8 years. Received a “Bessie” (New York she teaches and has taught experimental Dance and Performance Award) for her body of performance writing at Brooklyn College and the lighting design work in 2004 and for Yvonne Meier’s Eugene Lang College at the New School in New York Stolen in 2009. Also honored to be included in Curtain City. Kempson launched the 7 Daughters of Eve Call: Celebrating 100 Years of Women in Design at the Theater & Performance Co. in April 2015 at the Martin New York Performing Arts Library. SLC 2012– E. Segal Center at the City University of New York. Sibyl Kempson Theatre The company’s inaugural production, Let Us Now MFA, Brooklyn College. Kempson’s plays have been Praise Susan Sontag, premiered at Abrons Arts Center presented in the United States, Germany, and in New York City. A new piece, Public People's Enemy, Norway. As a performer she toured internationally was presented in October 2018 at the Ibsen Awards from 2000-2011 with Nature Theater of Oklahoma, and Conference in Ibsen’s hometown of Skien, New York City Players, and Elevator Repair Service. Norway. 12 Shouts to the Ten Forgotten Heavens, a Her own work has received support from the Jerome three-year cycle of rituals for the Whitney Museum Foundation, the Greenwall Foundation, National of American Art in the Meatpacking District of New Endowment for the Arts, and Dixon Place. She was York City, began on the vernal equinox in March 2016 given four Mondo Cane! commissions from to recur on each solstice and equinox through 2002-2011 for The Wytche of Problymm Plantation, December 2018. SLC, 2016- Crime or Emergency, Potatoes of August, and The Secret Death of Puppets). She received an MAP Fund grant for her collaboration with Elevator Repair 208 Faculty Paul Kerekes Music (Composition) Global City Review, Hungry Mind Review, North BMus, CUNY Queens College. MM, MMA, Yale School of American Review, Newsday, The New York Times; Music. New York-based composer and pianist whose recipient of the PEN/Nelson Algren, National Library music has been performed by American Composers Association, Loft Mcknight and The Whiting Orchestra, Da Capo Chamber Players, and New Morse Foundation awards; fellowships from the Code, in Merkin Hall, (le) poisson rouge, and The Hedgebrook, Katherine Anne Porter, Edward Albee, Winter Garden. He attended The Bang on a Can and Bush foundations. SLC, 1992– Summer Music Festival, Aspen Music Festival, and The Young Artists Piano Program at Tanglewood. Eduardo Lago Spanish, Literature Member of Grand Band, a six-piano ensemble MA, Universidad Autonomá de Madrid, Spain. PhD, featured in The Bang on a Can Marathon and the Graduate Center, City University of New York. Special Gilmore International Keyboard Festival. Award interests: Spanish and Latin American literature, US recipient from ASCAP, the Academy of Arts and Latino writers, European literature. Author of the Letters; recipient of the 2015 JFund award from the award-winning novel, Call Me Brooklyn (2006), American Composer’s Forum. SLC, 2017– translated into 15 languages. Other fiction orksw include short-story collections Scattered Tales and Daniel King Mathematics (on leave spring semester) Map Thief and I Always Knew I Would See You Again, BS, Lafayette College. MS, PhD, University of Virginia. Aurora Lee, a novel (2013)—all in Spanish. Translator Special interests in mathematics education, game into Spanish of works by John Barth, Sylvia Plath, theory, history and philosophy of mathematics, and Henry James, Junot Díaz, Hamlin Garland, William the outreach of mathematics to the social sciences Dean Howells, and Charles Brockden-Brown. and the humanities. Author of research papers in the Recipient of the 2002 Bartolome ́ March Award for areas of nonassociative algebra, fair-division theory, Excellence in Literary Criticism for his comparative and mathematics education; governor of the analysis of James Joyce’s Ulysses translations into Metropolitan New York Section of the Mathematical Spanish. Director of the Cervantes Institute in New Association of America; member, board of editors, York, 2006–2011. Holder of a Chair of Excellence at The College Mathematics Journal. SLC, 1997– Carlos III University, Madrid, in 2008. His collection of essays The double helix of North American Literature, Justine Kurland Visual and Studio Arts will be published at the end of 2018 in Mexico and BFA, School of Visual Arts (New York). MFA, Yale Spain. SLC, 1993– University. New York-based photographer/artist with solo exhibitions at numerous galleries and museums Kevin Landdeck Adda Bozeman Chair in worldwide, including: Frank Elbaz Gallery, Elizabeth International Relations—Asian Studies, History Leah Gallery, Monte Faria Gallery, Mitchell-Innes & BA, Valparaiso University. MA, University of Michigan- Nash, Monte Clark Gallery. Works represented in Ann Arbor. PhD, University of California-Berkeley. numerous permanent collections, including: The Recipient of a Chiang Ching-kuo Foundation International Center of Photography (New York), dissertation grant for archival research in Museum of Contemporary Photography (Chicago), Chongqing, China. Research concerns 20th-century Solomon R. Guggenheim Museum of Art (New York), China, specifically Kuomintang war mobilization and and Whitney Museum of American Art. Guest lecturer interior society during the Sino-Japanese War at Columbia University, Columbia College of Art, (1937-45). Dissertation, “Under the Gun: Nationalist University of California-Los Angeles, and numerous Military Service and Society in Wartime Sichuan, others. Her photos have been published widely and 1938-1945,” presently being revised for future featured most notably in Art in Review, The New York publication, examines the state-making projects Times, Vogue, The Washington Post, The New Yorker, embedded within conscription and voluntary and Harper’s Bazaar. Her photography is featured in enlistment in Chiang Kai-shek’s army. Translating numerous books and catalogues, including: Art the confessions and jottings of a captured KMT spy, Photography Now, Bright, Susan (Aperture who spent 16 years undergoing self-reform in a Foundation, 2005), Old Joy, Jonathan Raymond communist prison, is a side project currently in (Artspace Books, 2004), and Justine Kurland: Spirit progress. Key areas of interest include China’s West, John Kelsey (Coromandel, 2002). SLC, 2011– transition from a dynastic empire to a nation-state; the role of war in state-making; modes of political Mary LaChapelle Writing mobilization and their intersection with social BA, University of Minnesota. MFA, Vermont College. organization; and private life and selfhood, including Author of House of Heroes and Other Stories; stories, national, regional, or local and personal identities. essays and anthologies published by New Rivers Broadly teaches on modern (17th century to present) Press, Atlantic Monthly Press, Columbia Journal, FACULTY 209

East Asian history, with a focus on politics, society, Joseph Lauinger Literature and urban culture. In addition to a course on war in BA, University of Pennsylvania. MA, Oxford University. 20th-century Asia, a personal involvement in MA, PhD, Princeton University. Special interest in photography has inspired a course on photographic American literature and film, the history of drama, images and practice in China and Japan from the and classical literature; recipient of the New York 19th century through the present. Member of the State Teacher of Excellence Award and a grant from American Historical Association, Association of Asian the National Endowment for the Humanities; fiction Studies, and Historical Society for Twentieth-Century and poetry published in Epoch, Lost Creek, China. SLC, 2011– Georgetown Review, Confrontation, and Pig Iron; plays performed throughout the United States and in the Allen Lang Director, Theatre Outreach—Theatre United Kingdom, Australia, and India; member of the BA, University of Wisconsin–Stevens Point. MFA, Dramatists Guild. SLC, 1988– SUNY-Empire State College. Published plays include Chimera, White Buffalo, and The Wading Billy Lester Music (Jazz Piano) Pool. Recipient of the Lipkin Playwright Award and BA, Lehman College. Manhattan School of Music. Drury College Playwright Award. Plays produced in Taught at Diller-Quaile Music School; music New York City at Pan Asian Rep, Red Shirt appreciation at Lehman College; private teaching, Entertainment, La Mama, The Nuyorician Poets Cafe, 1976-present. Solo concert: Heineken Jazz Festival, and other venues. In New York, directed new plays by 1984. Six recordings. "Storytime" nominated by NPR Richard Vetere, Adam Kraar, Diane Luby, and Michael as one of the best in jazz of 2013. Performs in the Schwartz. Established The River Theatre Company in United States and in Europe. SLC, 2017– Central Wisconsin with a company of local players. Directed, toured with the work of Samuel Beckett, Eric Leveau French, Literature Eugene Ionesco, Slawomir Mrozek, David Lindsay Graduate of École Normale Supérieure, Fontenay- Abaire, and John Patrick Shanley, among others. Saint Cloud, France. Agrégation in French Literature Performances presented on NPR and in shopping and Classics, Doctorate in French literature, Paris- malls, street festivals, bus stops, parking lots, and Sorbonne. Special interest in early modern French abandoned stores, as well as more traditional literature, with emphasis on theories and poetics of venues. Conducted theatre workshops for theatre, comedy and satire, rhetoric, and the participants of all ages in New York City, Yonkers, evolution of notions of writer and style during the Westchester County, and throughout the United period. SLC, 2003-2006; 2008– States and abroad. Wrote, directed, and performed in Linwood J. Lewis Psychology original plays presented in schools, community BA, Manhattanville College. MA, PhD, City University centers, and museums in Yonkers, Westchester of New York. MS, Columbia University. Special County, and beyond. Recipient of grants from the interests in the effects of culture and social context National Endowment of the Arts, The Wisconsin on conceptualization of health and illness; effects of Council of the Arts. Sarah Lawrence College Theatre the physical environment on physical, psychological, Outreach co-director; artistic director of the Sarah and social health; multicultural aspects of genetic Lawrence College theatre program, 2007-2010. SLC, counseling; the negotiation of HIV within families; 1998– and the development of sexuality in ethnic minority Rattawut Lapcharoensap Writing adolescents and adults. Recipient of a MacArthur BA, Cornell University. MFA, University of Michigan. postdoctoral fellowship and an NIH-NRSA research Fiction writer. Author of Sightseeing, a collection of fellowship. SLC, 1997– short stories, which received the Asian American An Li Economics Literary Award and was shortlisted for the BA, MA, Renmin University of China, Beijing. PhD, Guardian First Book Award. His work has appeared in University of Massachusetts, Amherst. Teaching Granta, One Story, The Guardian, Zoetrope, Best New areas include microeconomics and macroeconomics, American Voices, and Best American Non-Required environmental economics, political economy, urban Reading, among others. He is a recipient of a Whiting and regional economics, international trade, and Writer’s Award, a DAAD Artist-in-Berlin fellowship, a economics of public policy. Current research National Book Foundation 5 Under 35 honor, and an interests include the political economy of Abraham Woursell Prize through the University of environmental justice, environmental justice in Vienna; he was named by Granta magazine to its list developing countries, property-right regimes and the of “Best of Young American Novelists.” SLC, 2018– environment, the global outsourcing of pollution- generating activities, and the interaction between 210 Faculty economic inequality and the environment. Recipient writer and talent director at Gates Productions for 80 of Sun Yefang Economic Science Award for hours of local and regional live television in Los theoretical and empirical research on economic Angeles; one of two conceptual designers for crisis. SLC, 2019 - Mitsubishi’s Waterfront Project, creating 32 amusement park attractions; creative producer of Matthew Lopez Dance Red Monsoon, a feature film shot in Nepal. Film BA, University of Central Florida. Studying theatre at acting credits include Clean and Sober, Alien Nation, Northeastern University. Dancer at Walt Disney Come See the Paradise, and Weird Science; television World. Background dancer for Hillary Duff in the acting credits include Guiding Light, Law and Order, Christmas Day Parade televised on ABC, Sean Cheers, Quantum Leap, LA Law, and Night Court; Kingston and Wyclef Jean on PBS, Demi Lovato stage credits include Holy Ghost, End Game, Zoo Story, on Good Morning America. Mascot for the New Fishing, and Wat Tyler; directing credits include England Patriots and currently a choreographer for Platypus Rex, Mafia on Prozac, The 17th of June, North the New England Patriots cheerleaders. Featured of Providence, Only You, To Kill A Mockingbird, and The on Live with Regis and Kelly. Audition facilitator for a Weir. Co-director and co-producer of SLC Web Series, Nicki Minaj performance and lead dancer in Times “Socially Active,” Web feature film Elusive, and Square for the debut of her album, Pink Friday: television pilot “Providers.” Recipient of two [Los Roman Reloaded. Choreographed for Madison Square Angeles] Drama-Logue Critics’ Awards for acting. Garden and New York Knicks pre-game show; SLC, 2000– choreographed for R&B/Pop artist, Sid Haywoode, whose song, "No Excuses," was #6 on Europe’s Greg MacPherson Theatre dance-hit chart. Serves on the committee for the Designed lighting for hundreds of plays and musicals Bessie Dance Awards. Teaches across the United in New York and around the United States, as well as States and abroad in the Philippines, Japan, in Europe, Australia, Japan, and the Caribbean. Colombia, Israel, Canada, and the United Kingdom. Designs have included original plays by Edward Allan Selected as one of the Top 12 Dance Convention Baker, Cassandra Medley, Stewart Spencer, Richard Teachers in the USA by Dance Informa Magazine. Greenberg, Warren Leight, Lanford Wilson, Romulus Currently teaching hip hop/street jazz at Steps on Linney, Arthur Miller, and David Mamet. Continues to Broadway, Broadway Dance Center, Ballet Hispanico, design the Las Vegas production of Penn & Teller and New York Theatre Ballet, and the New York Film to work as resident designer for the 52nd Street Academy. SLC, 2017– Project. Received an American Theatre Wing Maharam Award nomination for his lighting design Robert Lyons Creative Director—Theatre of E.S.T.’s Marathon of One-Act Plays. SLC, 1990– Playwright, director, and artistic director of the two- time OBIE Award-winning New Ohio Theatre in Nicole Maloof Visual and Studio Arts Manhattan. Most recently a writer on Lush Valley, BFA, BA, Boston University. MFA, Columbia University. which was developed at The Playwright’s Center in Interdisciplinary practice in drawing, printmaking, Minneapolis and produced at HERE Art Center in fall and video. Finalist for a New York Foundation for the 2011. Other recent productions include, Nostradamus Arts grant in printmaking/drawing/book arts. Work Predicts the Death of Soho, Red-Haired Thomas (“a exhibited at the Boston Center for the Arts, Franklin sweetly fractured fairy tale”—The New York Times), Street Works, International Print Center New York, and Doorman’s Double Duty (“A gem!”—The New and the Jewish Museum. Recent teaching positions York Times). Other plays include, PR Man, No Meat No include courses in drawing and printmaking at Irony, The Naked Anarchist, Dream Conspiracy, Williams College. SLC, 2018– Creature of the Deep, No Thanks/Thanks, Vater Knows Best, and Floor Boards, which have been presented in Merceditas Mañago-Alexander Dance New York City by Soho Think Tank, HERE Arts Center, BA, SUNY–Empire State College. Dancer with Doug Project III Ensemble, Clubbed Thumb, The Foundry, Varone and Dancers, Pepatian, Elisa Monte Dance and Synapse Productions, among others. Company, Ballet Hispanico, and independent Commissioned adaptations range from The choreographers such as Sara Rudner and Joyce S. Possessed by Dostoevsky to How it Ended by Jay Lim. Recipient of the Outstanding Student Artist McInerney. SLC, 2013– Award from the University of the Philippines Presidents’ Committee on Culture and the Arts. Doug MacHugh Filmmaking and Moving Image Arts Taught at Alvin Ailey School; guest faculty member, BA, New England College. MFA, Sarah Lawrence 92nd Street Y, Marymount Manhattan College, College. Peace Corps, El Salvador. Writer of PSAs, Metropolitan Opera Ballet, New York University Tisch commercials, industrials, and documentaries. Script School of the Arts, Rutgers University Mason Gross FACULTY 211

School of the Performing Arts. Participant/teacher, developing his second feature film, a elevisiont 2004 Bates Festival-Young Dancers Workshop; solo series, and a full-length documentary on young works: Free Range Arts, Dixon Place, Brooklyn Arts Cameroonian painter Ludovic Nkoth. SLC, 2018– Exchange, and Danspace Project/St. Mark’s Church. SLC, 2002– Caden Manson Director, Theatre Program—Theatre A performance/theatre maker and media artist, Thomas Mandel Theatre Manson founded, with Jemma Nelson, the BA, Bowdoin College. Songwriting with Paul Simon, performance/media ensemble Big Art Group. He is New York University, 1969; taught Singing Workshop editor in chief at Contemporary Performance and with John Braswell at Sarah Lawrence (1971-77); curates the annual Special Effects Festival in New scored musicals at Sarah Lawrence, Astor Place York City. Manson has co-created, directed, and Theatre, and Cafe LaMaMa, New York City; composed, media- and set-designed 22 Big Art Group orchestrated, and musical-directed three rock productions that have toured throughout North operas Off-Off Broadway and at Sarah Lawrence. America, Europe, and Asia. He has shown video (The first, Joe’s Opera, was twice optioned for installations in Austria, Germany, New York City, and Broadway production; animated the second, The Sea Portland; performed his solo work, PAIN KILLER, in of Simile, on a full-length DVD.) Toured and recorded Berlin, Singapore, and Vietnam; and has been co- (1977-1998) from Vietnam to Vienna, New York City to produced by the Vienna Festival, Festival d’Automne Sun City, with Dire Straits, Bryan Adams, Cyndi à Paris, Hebbel Am Ufer, Rome’s Le Vie Dei Festival, Lauper, Tina Turner, Bon Jovi, B-52s, the Pretenders, PS122, and Wexner Center for The Arts. Manson is a Nils Lofgren, Little Steven, Peter Wolf, Ian Hunter/ Foundation for Contemporary Art fellow, Pew fellow, Mick Ronson, two former NY Dolls, Live at CBGB’s, the and MacDowell fellow. His writings and scripts have Spinners, Shannon, John Waite, and Pavarotti. been published in PAJ, Theater Magazine, Theater der Returned to Sarah Lawrence in 2000 to work with Zeit, and Theatre Journal. He has taught in Berlin, Shirley Kaplan, William McRee, and Thomas Young. Rome, Paris, Montreal, New York City, and Bern and, Fields of expertise: Hammond organ, rock-and-roll from 2014 to 2019, headed The John Wells MFA piano, synthesizer programming and sequencing, Directing Program at Carnegie Mellon University’s piano accompaniment, popular and progressive School of Drama. SLC, 2019– music of the 1950s-1990s. SLC, 1971-77, 2000– Rona Naomi Mark Filmmaking and Moving Image K. Lorrel Manning Theatre, Filmmaking and Moving Arts Image Arts BA, Hebrew University of Jerusalem. MFA, Columbia MFA, Columbia University. BFA, University of Georgia. University. Award-winning writer, director, and Award-winning filmmaker and theatre artist. Film producer. Festivals and awards include: Best of Fest, festivals and awards include: South By Southwest Edinburgh International Film Festival; Audience (World premiere, Narrative competition); Hamptons Choice Award, Filmmaker Magazine; Scenario Award, Film Festival (New York premiere); Discovery Award & Canadian International Film and Video Festival; Best Best Actor Award, Rhode Island International Film Short (second place), Galway Film Fleadh; Best Festival; Audience Award–Best Feature, Oldenburg Comedy/Best of Night, Polo Ralph Lauren New Works International Film Festival; Jury Award–Best Film, Festival; BBC’s Best Short Film About the Beaufort International Film Festival; David Horowitz Environment, Tel Aviv International Student Film Media Literacy Award, Santa Fe Indie Film Festival; Festival; opening-night selection, Three Rivers Film Best Film, North Country Film Festival; Best Film, Festival; Hong Kong International Jewish Film Peace On Earth Film Festival; Opening Night Film, Festival; Irish Reels Film Festival; Seattle True Kansas City Film Festival; Voice Award, Nominee. As a Independent Film Festival; New Filmmakers theatre director and playwright, Manning has Screening Series; Hoboken International Film worked extensively Off-Broadway and Off-Off Festival; Miami Jewish Film Festival; Munich Broadway. Most recently, he wrote, directed, and International Student Film Festival; Palm Beach starred in the critically-acclaimed Off-Broadway play International Jewish Film Festival; Pittsburgh Israeli AWAKE, which received its world premiere at the Jewish Film Festival; Toronto Jewish Film Festival; Barrow Group Theatre Company. Other recent theatre Vancouver Jewish Film Festival; finalist, Pipedream directing work includes: a new, critically-acclaimed Screenplay Competition; third prize, Acclaim TV adaptation of Henrik Ibsen’s An Enemy of the People Writer Competition; second place, TalentScout TV (co-written with Seth Barrish) and John Yearley’s Writing Competition; finalist, People’s Pilot Television The Unrepeatable Moment. Manning is currently Writing Contest; Milos Forman Award; finalist, Academy of Motion Picture Arts and Sciences 212 Faculty Student Film Awards. Current feature film projects Jeffrey McDaniel Writing include: screenwriter/director/producer, Strange BA, Sarah Lawrence College. MFA, George Mason Girls, Mdux Pictures, LLC; screenwriter/director, University. Author of five books of poetry, most Shoelaces. SLC, 2007– recently Chapel of Inadvertent Joy (University of Pittsburgh Press, 2013). Other books include The James Marshall Computer Science Endarkenment (Pittsburgh, 2008), The Splinter BA, Cornell University. MS, PhD, Indiana University- Factory (Manic D Press, 2002), The Forgiveness Bloomington. Special interests in robotics, Parade (Manic D Press, 1998), and Alibi School (Manic evolutionary computation, artificial intelligence, and D Press, 1995). His poems have appeared in cognitive science. Author of research papers on numerous journals and anthologies, including Best developmental robotics, neural networks, and American Poetry in 1994 and 2010. Recipient of an computational models of analogy; author of the NEA fellowship. SLC, 2011– Metacat computer model of analogy. SLC, 2006– William D. McRee Theatre Alison Jane Martingano Psychology BA, Jacksonville University. MFA, Sarah Lawrence BSc (Hons), The University of York. MA, MPhil, The College. Co-founder and artistic director for New School for Social Research. An active empirical Jacksonville’s A Company of Players, Inc.; researcher interested in empathy and social productions with The Actor’s Outlet, Playwrights cognition, Martingano's recommendations for the Horizons, Summerfest, and the Ensemble Studio importance of understanding the complex nature of Theatre. SLC, 1981– empathy have been shared widely within the medical community and published in the Journal of Jodi Melnick Dance Osteopathic Medicine. Her latest research explores BFA, State University of New York–Purchase. the use of virtual reality to improve social cognition Choreographer, performer, and teacher. A 2012 and was featured on BBC’s Radio 4 Series, The Digital Guggenheim fellow and recipient of the Jerome Human. For the last several years, Martingano was a Robbins New Essential Works grant (2010-2011), a teaching fellow at The New School for Social Foundation for Contemporary Arts award, 2011 Research and, before that, taught social Grants to Artists award, and two Bessies (2001 and and personality psychology at Hunter College, City 2008). Her dances have been performed at The Joyce University of New York. She has received awards and Theatre and City Center in New York City; her works fellowships in support of her research from have been commissioned and presented by The The Zolberg Foundation for Migration and Mobility, Kitchen (Fanfare, with set décor by Burt Barr), Dance The Society for Text and Discourse, The Psychology of Theater Workshop, La Mama for OtherShore Dance Technology, and the Society for Personality and Company, Jacob’s Pillow, The American Dance Social Psychology. SLC, 2019- Festival, Barnard College, Bennington College, Dance Box, Kansai, Japan, and opening the Dublin Dance Juliana F. May Dance Festival (2011) at the Irish Museum of Modern Art. BA, Oberlin College. MFA, University of Wisconsin- She has worked with a vast array of dance artists Milwaukee. A Guggenheim and NYFA Fellow, for the such as Twyla Tharp and Mikhail Baryshnikov and past 15 years she has taught dance and continues to perform with choreographers Sara choreography at numerous institutions in K-12 and Rudner, Vicky Shick, Jon Kinzel, John Jasperse, Liz university settings, including at Trevor Day School, Roche, and Susan Rethorst. Currently, she also Barnard College, The New School, and, most recently, teaches at Barnard College at Columbia University, at The American Dance Festival in Durham, North New York University (in the Experimental Theatre Carolina. She has created nine works since 2002, Wing), and Trevor Day School. SLC, 2013– including seven evening-length pieces with commissions and encore performances from Dance Roberta Michel Music (Flute) Theatre Workshop, New York Live Arts, The Chocolate BA, University of Colorado at Boulder. MM, Factory Theatre, Barnard College, The New School, SUNY–Purchase. DMA, City University of New York Joyce SoHo, and The American Realness Festival. She Graduate Center. Recipient of the Artists has been awarded grants and residencies through International Special Presentation Award, debuted at The Map Fund, The Jerome foundation, Lower Carnegie Hall’s Weill Recital Hall. Winner, National Manhattan Cultural Council, and Gibney DIP. SLC, Flute Association’s Graduate Research Competition, 2017– Purchase College Baroque Concerto Competition. Bang on a Can Summer Institute fellow. Participant FACULTY 213 in the Institute and Festival of Contemporary story collections Vanishing Animals and Other Performance at Mannes College, Banff estival,F and Stories, The Bus of Dreams, and The Lifeguard Stories; Domaine Forget. SLC, 2017– the travel memoirs Nothing to Declare: Memoirs of a Woman Traveling Alone and Wall to Wall: From Beijing Nicolaus Mills Literature to Berlin by Rail; an anthology of the travel literature BA, Harvard University. PhD, Brown University. Special of women, Maiden Voyages and Angels and Aliens: A interest in American studies. Author of Winning the Journey West; recent work published in Atlantic Peace: The Marshall Plan and America’s Coming of Monthly, Narrative, and Ploughshares. Recipient of Age as a Superpower; The Triumph of Meanness: the Rome Prize in Literature and grants from the America’s War Against Its Better Self; Their Last Guggenheim Foundation, National Endowment for Battle: The Fight for the National World War II the Arts, and Creative Artists Public Service Awards. Memorial; Like a Holy Crusade: Mississippi 1964; The SLC, 1994– Crowd in American Literature; and American and English Fiction in the 19th Century. Editor of Getting Bari Mort Music Out: Historical Perspectives on Leaving Iraq; Debating BFA, State University of New York–Purchase. MM, The Affirmative Action; Arguing Immigration; Culture in Juilliard School. Pianist, winner of Artists an Age of Money; Busing USA; The New Journalism; International Young Musicians Auditions; New York and The New Killing Fields. Contributor to The Boston recital debut at Weill Recital Hall at Carnegie Hall. Globe, The New York Times, Chicago Tribune, San Member of New York Chamber Ensemble; performed Francisco Chronicle, Newsday, The Nation, Yale with International String Quartet, Musica de Camera, Review, National Law Journal, and The Guardian; Da Capo Chamber Players, Colorado String Quartet, editorial board member, Dissent magazine. Recipient American Symphony Orchestra, Columbia Artists’ of fellowships from the Woodrow Wilson Foundation, Community Concerts. Broadcasts include PBS’s Live American Council of Learned Societies, and the From Lincoln Center and NPR in New York and San Rockefeller Foundation. SLC, 1972– Francisco. Recorded for ERM Records and Albany Records. Faculty member, Bard College, 1997-2006. Nike Mizelle German SLC, 2008– BA, Queens College. MA, MPhil, Graduate Center of the City University of New York. Special interests in New Brian Morton Director, Program in Writing—Writing German Cinema, German Romanticism, BA, Sarah Lawrence College. Author of five novels, contemporary German authors, and 20th-century art including Starting Out in the Evening and Florence history. Translator of articles on German music; Gordon. SLC, 1998– contributor to Pro Helvetia Swiss Lectureship. Monika Maron Symposium chairperson, Ghent April Reynolds Mosolino Michele Tolela Myers Chair University, Belgium. SLC, 1987– in Writing—Writing BA, Sarah Lawrence College. Taught at the 92nd Bill Moring Music (Bass, Jazz Ensembles) Street Y and New York University. Her short story, Indiana State University. Taught at Montclair State Alcestis, appeared in The Bluelight Corner: Black University, NJPAC Jazz for Teens, Long Island Women Writing on Passion, Sex, and Romantic Love; University. Lectures and concerts with Staten Island her fiction orkw has appeared in the anthology Chamber Music Players Jazz Quartet. Adjudicator at Mending the World With Basic Books, 110 Stories: New numerous high schools and universities across the York Writes After September 11 (New York University United States and Europe; private teacher and Press) and in The Heretics Bible (Free Press). Her ensemble coach. Recipient: National Endowment for first novel, Knee-Deep in Wonder, won the Zora Neale the Arts Study Grant, Rufus Reid. Performances, Hurston/Richard Wright Foundation Award. Her notable festivals, and concerts: Tchaikovsky Hall, second novel, The Book of Charlemagne, is Moscow; Monterey Jazz Festival, California; JVC Jazz forthcoming (Free Press/Simon & Schuster). SLC, Festival, New York; Carnegie Hall, Nee York; Wigan 2003– Jazz Festival, England; Estoril Jazz Festival, Portugal. SLC, 2017– Dean Moss Dance A dance-based, interdisciplinary director, media Mary Morris Writing artist, curator, and lecturer, Moss BA, Tufts College. MPhil, Columbia University. investigates—through his company, Gametophyte Novelist, short-story writer, and writer of travel Inc.—the process of assimilation, fluidity of self, and literature. Author of the novels The Jazz perceptions of other through transcultural, Palace, Crossroads, The Waiting Room, The Night Sky, multimedia performance collaborations often House Arrest, Acts of God, and Revenge; the short- incorporating audience participation. He is the 214 Faculty recipient of a 2014 John Simon Guggenheim Memorial Patrick Muchmore Music Foundation Fellowship in Choreography, the BM, University of Oklahoma. Composer/performer inaugural Doris Duke Impact Award in Theatre, a with performances throughout the United States; Foundation for Contemporary Arts Artists Grant founding member of New York’s Anti-Social Music; Award, multiple MAP Fund and NEFA National Dance theory and composition instructor at City College of Project grants, plus fellowships in both New York. SLC, 2004– choreography and multidisciplinary works from The New York Foundation for the Arts. He received a New Joshua Muldavin Geography York Dance and Performance Bessie Award for his BS, MA, PhD, University of California-Berkeley. Special work Spooky action at a distance. Moss came to New interests in China, Japan, and Asia policy, rural York from Tacoma, Washington, on a Dance Theatre development, international aid, agriculture and food, of Harlem scholarship in 1979. He danced with David climate change, environment, political economy, and Gordon for 10 years and has had a long relationship political ecology. Current research projects analyze with The Kitchen, serving as the curator of dance international environmental policy and impacts on and performance from 1999-2004 and then as a local resource use and vulnerability in the Himalayan curatorial advisor through 2009. In 2012, Moss region; climate change policy; socialist transition’s curated Black Dance as part of the Parallels 2012 at environmental and social impacts in China; the Danspace Project. His practice employs sustainable agriculture and food systems; global collaboration and audience participation as a means resource and development conflicts via apitc al flows to disrupt and enrich both his life and his practice. to Africa, Latin America, and South/Southeast Asia; Past premieres include: Nameless forest (2011), a and aid to China since 1978. Twenty-eight years of collaboration with Korean sculptor and installation field esearr ch, primarily in rural China. Recipient of artist Sungmyung Chun—referencing Chun’s grants from National Science Foundation, Social imagery, the performance investigated existential Science Research Council, Ford Foundation, narratives while engaging the audience in MacArthur Foundation, and Fulbright. Invited experiential rites of passage; Kisaeng becomes you lecturer at Princeton, Yale, Oxford, Johns Hopkins, US (2009), with Korean traditional and modern dance Congressional Commission, European Parliament. choreographer Yoon Jin Kim, where audience Executive director of the Action 2030 Institute. members were invited to embody the discipline and Contributor to The Political Geography Handbook, poetry of kisaeng—artist/courtesans of Korea’s Economic Geography, Geopolitics, Environment and Joseon Dynasty; and figures on a field (2005) with Planning A, Geoforum, and Annals of the Association the visual artist Laylah Ali, incorporating a docent- of American Geographers, International Herald led tour of the work during the performance. Moss’ Tribune, BBC World News, and other media outlets. most recent premiere was johnbrown (2014). The SLC, 2002– work used its presentation and preperformance Parthiban Muniandy Sociology production to reflect not only on the ontrc oversial BA, PhD, University of Illinois. Research focuses on legacy of the white abolitionist but also on the temporary labor migration in Southeast Asia and racial, gender, and generational processes at play in South Asia; particular interest in exploring how new the inquiry. His current performance project, based regimes of migration are emerging, under which on the Rainer Fassbinder film The Bitter Tears of “temporary labor” migrants are becoming Petra von Kant, is titled Petra: a meditation on desire, increasingly commonplace in fast-developing individual and institutional. Petra examines race, sex, societies in Asia, and how informality and informal and power through the lens of service and practices become important elements that affect unrequited love. The work is commissioned by the lives of migrant women and men. Author of Performance Space 122 and will premiere at its Politics of the Temporary: Ethnography of Migrant life newly renovated theatre in January 2018. SLC, 2017– in Urban Malaysia (2015) and peer-reviewed articles Jamee K. Moudud Economics in International Sociology, Journal of Ethnic and BS, MEng, Cornell University. MA, PhD (Honors), The Migration Studies and Asian Journal of Social Science. New School for Social Research. Current interests Former appointments: Lecturer of Global Studies, include the study of industrial competition, the University of Illinois at Urbana-Champaign. SLC, political economy of the developmental welfare 2017– state, the determinants of business taxes, and the Priscilla Murolo History study of Schumpeter’s analysis of the tax state. SLC, BA, Sarah Lawrence College. MA, PhD, Yale University. 2000– Special interest in US labor, women’s, and social history; author, The Common Ground of Womanhood: FACULTY 215

Class, Gender, and Working Girls’ Clubs; co-author, Philipp Nielsen History From the Folks Who Brought You the Weekend: A BSc, London School of Economics and Political Short, Illustrated History of Labor in the United Science. PhD, Yale University. Specializes in the States; contributor to various encyclopedias and intellectual, cultural, and political history of modern anthologies and to educational projects sponsored Europe, with particular emphasis on German and by labor and community organizations; reviewer for Jewish history. Research addresses the history of Journal of American History, Journal of Urban History, democracy and its relation to emotions, International Labor and Working Class History, and constitutional law, and architecture. His book other historical journals; contributor and editorial manuscript, “From Promised Land to Broken Promise: associate, Radical History Review; recipient of Jews, the Right, and the State in Germany between Hewlett-Mellon grants. SLC, 1988– 1871 and 1935,” traces the involvement of German Jews in nonliberal political projects from the Chieko Naka Japanese founding of the German Empire to the Nuremberg BA, Ochanomizu University, Japan. MA, University of Laws. Most recently, he published articles on the Windsor, Canada. Special interest in intercultural notions of responsibility and compromise in communications. Taught Japanese as a second conservative interwar politics in Germany and on language at secondary schools and universities in debates about adequately "democratic architecture" Canada, The Philippines, Republic of Korea, and the in the 1950s and 1960s in West Germany. SLC, 2016– United States. Trained Filipino teachers in the Japan Foundation program in Manila. Wrote featured Jennifer Nugent Dance articles in the daily Japanese newspaper, Kitanihon Danced with the Bill T. Jones/Arnie Zane Dance Shinbun. SLC, 2010– Company from 2009-2014 and David Dorfman Dance from 1999-2007, receiving a New York Dance and Ellen Neskar Merle Rosenblatt Goldman Chair in Performance Award (Bessie) for her work in the Asian Studies—Asian Studies company. She has also had opportunities to perform BSc, University of Toronto. MA, MPhil, PhD, Columbia and work intensively with Martha Clarke, Lisa Race, University. Special interest in the social and cultural Doug Elkins, Bill Young, Colleen Thomas, Kate Weare, history of medieval China, with emphasis on the Barbara Sloan, and Dale Andre. Her teaching and intersection of politics and religion; author of dancing is inspired by all of her teachers and Politics and Prayer: Shrines to Local Worthies in Sung mentors, most profoundly by her time working, China; member, Association of Asian Studies; performing with, and learning from Daniel Lepkoff, recipient of an American Council of Learned Wendall Beavers, Gerri Houlihan, David Dorfman, Bill Societies grant. SLC, 2001– T. Jones, Janet Wong, Wendy Woodson, and Patty Townsend. Her choreography and duet collaborations David Neumann Theatre (on leave spring semester) with Paul Matteson have been presented in New York As artistic director of the advanced beginner group, City and throughout the United States. Nugent work presented in New York City at P.S. 122, Dance teaches regularly in New York City and abroad and Theatre Workshop, Central Park SummerStage has been a guest artist at numerous universities and (collaboration with John Giorno), Celebrate Brooklyn, dance festivals, including The American Dance and Symphony Space (collaboration with Laurie Festival and the Bates Dance Festival. She has been a Anderson). Featured dancer in the works of Susan teaching artist at Smith College and Amherst College Marshall, Jane Comfort, Sally Silvers, Annie-B Parson since 2014. In 2015, she choreographed a work titled & Paul Lazar’s Big Dance Theatre, and club legend Stir on FCDD students. Stir was performed at the Willi Ninja; previously a member of Doug Varone and Smith College Faculty Concert in 2015 and the Five Dancers and an original member and collaborator for College Dance Concert at Mount Holyoke in 2016. In eight years with the Doug Elkins Dance Company. 2016-2017, she staged Five College dancers on an Over the past 20 years, choreographed or performed excerpt from Bill T. Jones/Arnie Zane Company's with directors Hal Hartley, Laurie Anderson, Robert Story/Time. SLC, 2017– Woodruff, Lee Breuer, Peter Sellars, JoAnn Akalaitis, Mark Wing-Davey, and Les Waters; recently appeared Dennis Nurkse Writing in Orestes at Classic Stage Company, choreographed BA, Harvard. Author of 10 books of poetry (under “D. The Bacchae at the Public Theatre, and performed in Nurkse”), including Love in the Last Days, The Border a duet choreographed with Mikhail Baryshnikov. SLC, Kingdom, Burnt Island, The Fall, The Rules of Paradise, 2007– Leaving Xaia, Voices over Water, and, most recently, A Night in Brooklyn; poems have appeared in The New Yorker, Atlantic Monthly, and six editions of the Best 216 Faculty American Poetry anthology series. Recipient of a Magdalena Ornstein-Sloan Psychology literature award from the American Academy of Arts MA, Columbia University, Teachers College. MPH, and Letters, a Guggenheim fellowship, a Whiting Hunter College. PhD, CUNY, The Graduate Center. Writers’ award, two National Endowment for the Arts During 15 years of work in the nonprofit sector and fellowships, two New York Foundation for the Arts 20 years as a personal health care advocate, Dr. fellowships, and two awards from The Poetry Ornstein’s experience encompasses individual and Foundation; a finalist orf the Forward Prize for best public-policy advocacy related to the delivery of poetry book published in the United Kingdom. SLC, long-term and end-of-life care. She is a Certified 2004– Brain Injury Specialist (CBIS) and has served on advisory boards of the New York State Office for the John O’Connor Visual and Studio Arts Aging Family Caregiver Council, New York State BA, Westfield (Mass.) State College. MFA, MS, Pratt Caregiving and Respite Coalition, Caregiving Youth Institute. Attended Skowhegan School of Painting Research Collaborative, and American Association of and Sculpture. Recipient of a New York Foundation Caregiving Youth. As a health geographer, her for the Arts grant in painting and the Pollock-Krasner research focuses on the experiences of informal Foundation grant. Taught at Princeton University, family caregivers, specifically related to caregiver Pratt Institute, and New York University. Recent interactions with the formal health care system. exhibitions at Pierogi Gallery in Brooklyn, Martin Special interests include brain injury and qualitative Asbaek Projects in Copenhagen, Fleisher Ollman methods. She teaches environmental psychology at Gallery in Philadelphia, and The Lab in Dublin SLC and food studies and public health at The New (Ireland). His work is included in the collections of School in New York City. SLC, 2015– the Museum of Modern Art, Whitney Museum of American Art, Southern Methodist University, and Marygrace O’Shea Filmmaking and Moving Image New Museum of Contemporary Art. SLC 2010– Arts BA, Haverford College. MFA, Columbia University Stephen O’Connor Writing Graduate School of Film. Film and television writer BA, Columbia University. MA, University of with credits that include NBC Universal/Wolf Films: California–Berkeley. Author of the novel Thomas Law & Order: Special Victims Unit and Law & Order: Jefferson Dreams of Sally Hemings; two collections of Criminal Intent; HBO: In Treatment, Season 2; short fiction, Here Comes Another Lesson and Rescue; Fox Television: Golden Parachutes/Thieves Like Us two works of nonfiction, the memoir Will My Name Be (creator, writer, and executive producer for the Shouted Out? and Orphan Trains; The Story of Charles original TV series pilot) and Carnegie Heights Loring Brace and the Children He Saved, Failed, (creator, writer, and executive producer for the history/biography; and Quasimode, poetry, program in development). Member, Writers Guild forthcoming. Fiction and poetry have appeared in of America East. Recent awards: 2013 winner, The New Yorker, Conjunctions, One Story, Electric Writer’s Guild of America East Screenplay Literature, Threepenny Review, The Missouri Review, Reading Series; winner, New York Women In Film The Quarterly, Partisan Review, The Massachusetts Screenplay Readings; winner, American Accolades Review, and elsewhere. Essays and journalism have Screenwriting Competition. Honors: Hudson Valley been published in The New York Times, DoubleTake, Short Film Festival, Manhattan Short Film Festival, The Nation, AGNI, Chicago Tribune, Boston Globe, and Austin Film Festival. SLC, 2013– New Labor Forum, among others. Recipient of the Cornell Woolrich Fellowship in Creative Writing from Clifford Owens Visual and Studio Arts Columbia University, the Visiting Fellowship for BFA, School of the Art Institute of Chicago. MFA, Historical Research by Artists and Writers from the Mason Gross School of the Arts, Rutgers University. American Antiquarian Society, and the DeWitt Postgraduate, Whitney Museum Independent Study Wallace/Reader’s Digest Fellowship from the Program and Skowhegan School of Painting and MacDowell Colony. SLC, 1997, 2002– Sculpture. Solo exhibitions: MoMAPS1, Contemporary Arts Museum Houston, Home (Manchester, England), Philip Ording Mathematics others. Group exhibitions: Walker Arts Center, The BA, PhD, Columbia University. Research interests in Studio Museum in Harlem, Yerba Buena Center for geometry, topology, and the intersection of the Arts, The Kitchen, Museum of Modern Art, others. mathematics with the arts. Mathematical consultant Projects and performances: Brooklyn Academy of to New York-based artists since 2003. Currently Music, Performa05 and Performa13, and others. His writing a compendium of mathematical style to be exhibition book, Anthology, edited by Christopher Y. published by Princeton University Press. SLC, 2014– Lew, includes contributions by Kellie Jones, Huey FACULTY 217

Copeland, and John P. Bowles. His work has been Springs College, and Dartmouth College; visiting reviewed in The New Yorker, The New York Times, scholar at Erasmus University in Rotterdam and the Artforum, Art in America, Bomb, The Drama Review, London School of Economics. SLC, 2000– and New York Magazine. His writings have been published in The New York Times, PAJ: A Journal of Jenny Perlin Visual and Studio Arts Performance and Art, and Artforum. Owens is the BA, Brown University. MFA, School of the Art Institute recipient of many grants and fellowships, including a of Chicago. Postgraduate studies at the Whitney William H. Johnson Prize, a Louis Comfort Tiffany Independent Study Program, New York. A Brooklyn- Award, and a Lambent Fellowship for the Arts. based artist, her practice in 16mm film, video and Recently, he was an artist in residence at Artpace drawing works with and against the documentary and the MacDowell Colony. He has been visiting tradition, incorporating innovative stylistic faculty and a critic at Columbia University, Yale techniques to emphasize issues of truth, University, Cooper Union, and Virginia misunderstanding, and personal history. Her projects Commonwealth University. He was recently a visiting look closely at ways in which social machinations artist at Williams College, Bard College, and Lafayette are reflected in the smallest fragments of daily life. College. SLC, 2019- Her films often combines handwritten text and drawn images, embracing the technical quirks of Sayuri I. Oyama Japanese, Literature analog technologies. Her works have been shown in BA, Yale University. MA, PhD, University of numerous exhibitions, including: Whitney Museum of California–Berkeley. Special interests include American Art, Guggenheim Museum, MoMA, Drawing modern Japanese literature and film, ethnic and Center, The Kitchen, and IFC Center, all in New York; other minorities in Japan, literature as translation, Mass MoCA, Massachusetts; Guangzhou Triennial, and translating literature. Recipient of a Japan Canton, China; New York Film Festival; Berlin and Foundation fellowship; University of Rotterdam film estivals;f and Scottsdale Museum of California–Berkeley, Townsend Center for the Contemporary Art in Arizona, among others. She is Humanities Fellowship; Japan Society for the represented by Simon Preston Gallery New York and Promotion of Science Postdoctoral Fellowship. Galerie M+R Fricke in Berlin. She teaches at The SLC, 2002– Cooper Union and The New School in New York. SLC, 1999-2004; 2017- Yekaterina Oziashvili Politics BA, Barnard College. PhD, Graduate Center, City Gina Philogene Psychology University of New York. Research and teaching PhD, École des Hautes Études en Sciences Sociales, interests include ethnic conflict, ethnofederalism, Paris. Interests in social and cultural psychology, political parties and electoral systems in history of psychology, race, and social identity, as multinational states, constitutional and electoral well as social representations. Author of From Black engineering, American constitutional law, and, more to African American: A New Representation, The broadly, American political development. Recent Representations of the Social: Bridging Theoretical awards include Fulbright/IIE Dissertation Fieldwork Traditions (with Kay Deaux), Racial Identity in Fellowship and the Social Science Research Council’s Context: The Legacy of Kenneth B. Clark, and the International Dissertation Research Fellowship. forthcoming How the Right Made It Wrong: Names in Conducted field esearr ch in Russia. Taught courses in the Shadow of the Political Correctness. Recipient of comparative and American politics at City University several grants, including the National Science of New York’s Hunter College and Baruch College. Foundation and the American Psychological SLC, 2012– Association. Published several articles in professional journals and currently an associate David Peritz Politics editor of the Journal of Community and Applied Social BA, Occidental College. DPhil, Oxford University. Psychology. SLC, 1998– Special interests in democracy in conditions of cultural diversity, social complexity and political Kevin Pilkington Writing Coordinator—Writing dispersal, critical social theory, social contract BA, St. John’s University. MA, Georgetown University. theory, radical democratic thought, and the idea of Author of nine books of poetry, including: Spare dispersed but integrated public spheres that create Change (1997), which was the La Jolla Poets Press the social and institutional space for broad-based, National Book Award winner; Ready to Eat the Sky direct participation in democratic deliberation and (2004); In the Eyes of a Dog (2009), which won the decision-making. Recipient of a Marshall New York Book Festival Award; and The Unemployed scholarship. Taught at Harvard University, Deep Man Who Became a Tree (2011), which was a Milt Kessler Poetry Book Award finalist. Poems have 218 Faculty appeared in numerous magazines, including: The recently directed for Opera Philadelphia, with music Harvard Review, Poetry, Ploughshares, Boston Review, by Danial Bernard Roumaine and librettist Marc Columbia, North American Review. His debut novel, Bathmuti Joseph. Prince has designed numerous Summer Shares, was published in 2012; his collection works for Bill T. Jones since 1990. Other recent work Where You Want to Be: New and Selected Poems, in includes Doug Varone’s In The Shelter of the Fold for 2015. SLC, 1991– BAM’s Next Wave Festival, as well as his Half Life, commissioned by Paul Taylor Company’s 2018 Lincoln Angie Pittman Dance Center season. She has designed numerous works for MFA, University of Illinois at Urbana-Champaign. A Varone since 1997. Other premieres this year include New York-based dance artist, dance maker, and works by Bebe Miller, Liz Gerring, and Pilobolus in dance educator, Pittman's work has been performed collaboration with Bela Fleck and Abigail Wasburn. at The Kitchen, Gibney Dance, BAAD! (BlaktinX Prince’s costumes have been exhibited at The New Performance Series), Movement Research at Judson York Public Library for the Performing Arts; Cleveland Church, Triskelion Arts, STooPS, The Domestic Center for Contemporary Art; the 2011 Prague Performance Agency, The KnockDown Center(Sunday Quadrennial of Performance, Design and Space; Snug Service), The Invisible Dog(Catch 73), and Danspace Harbor Cultural Center; and Rockland Center for the Project (Food for Thought, Draftworks, Platform Arts. She received a 1990 New York Dance and 2018, Shared Evening of New Work 2019). She Performance Award (BESSIE) and a 2008 Charles Flint currently works as a collaborator and dance artist Kellogg Arts and Letters Award from Bard College. with Antonio Ramos, devynn emory/ SLC, 2017– beastproductions, Anna Sperber, and Donna Uchizono Company. Pittman is a M’Singha Wuti-certified Nick Rauh Computer Science, Mathematics teacher of the Umfundalai technique. Her work has BS, Harvey Mudd College. PhD, University of Texas. been supported by Foundation for Contemporary Arts Areas of expertise include number theory and Emergency Grant and residencies through Tofte Lake recreational mathematics. Former chief of Center and Movement Research. In 2017, she received mathematics, National Museum of Mathematics. a “Bessie” Award for Outstanding Performer for her Previously taught at University of Texas and Texas work with Skeleton Architecture, a vessel of Black State University. SLC 2017– womyn and gender nonconforming artists rooted in the rigor and power of the collective in practice. Her Victoria Redel Writing (on leave spring semester) work resides in a space that investigates how the BA, Dartmouth College. MFA, Columbia University. body moves through ballad, groove, sparkle, spirit, Author of three books of poetry and five books of spirituals, ancestry, vulnerability, and power. SLC, fiction, including her most ecr ent, Before Everything 2019– (2017). For her collection of stories, Make Me Do Things (2013), for which she was awarded a 2014 Mary A. Porter Anthropology Guggenheim fellowship for fiction. Her novels BA, Manchester University. MA, PhD, University of include The Border of Truth (2007) and Loverboy Washington. Ethnographic studies in East Africa, the (Graywolf, 2001/Harcourt, 2002), which was awarded United Kingdom, and the United States. Areas of the 2001 S. Mariella Gable Novel Award and the 2002 expertise include kinship theory, postcolonial Forward Silver Literary Fiction Prize and was chosen studies, feminist anthropology, queer anthropology, in 2001 as a Los Angeles Times Best Book. Loverboy educational studies, and oral history. Current work was adapted for a feature film directed by Kevin examines discourses of race, class, and kinship Bacon. Swoon (University of Chicago Press, 2003), embedded in foster care and adoption, both was a finalist orf the James Laughlin Award. Her domestically and transnationally. Co-author of Winds work has been widely anthologized and translated; of Change: Women in Northwest Commercial Fishing her fiction, poetry, and essays have appeared in and author of articles on gender, kinship, education, numerous magazines and journals, including and sexuality. Grants include Fulbright-Hays Doctoral Granta.com. Harvard Review, The Quarterly, The Research fellowship and Spencer fellowship. Literarian, The New York Times, Los Angeles Times, O, Consultant, UNESCO. Associate Dean of the College, The Oprah Magazine, Elle, BOMB, More, and NOON. SLC, 2007-12. SLC, 1992– 1996–

Liz Prince Theatre Nelly Reifler Writing BA, Bard College. Designer of costumes for theatre, BA, Hampshire College. MFA, Sarah Lawrence College. dance, and film. ecR ent work includes Bill T. Jones’ Author of a story collection, See Through, and a Analogy Trilogy for the Bill T. Jones/Arnie Zane Co., as novel, Elect H. Mouse State Judge; fiction in well as We Shall Not Be Moved, the opera that Jones magazines and journals, including Story, Tweed's, FACULTY 219

BOMB, McSweeney’s, Nerve, Black Book, The Milan Lost Dog’s Chamber Music of Philippe Bodin and Review, and Lucky Peach, as well as in the Christopher Bailey's album of piano works, anthologies 110 Stories: New York Writes Glimmering Webs. Currently, in addition to being the After September 11, Lost Tribe: New Jewish Fiction pianist for the Lost Dog New Music Ensemble, he is from the Edge, Found Magazine’s Requiem for a Paper the choral accompanist at the Riverdale Country Bag, and No Near Exit: Writers Select Their Favorite School. SLC, 2017– Work From Post Road Magazine. Fiction also read on NPR’s Selected Shorts and as an Audible a la Carte Sandra Robinson Asian Studies edition. Recipient of a Henfield Prize, a ASU BA, Wellesley College. PhD, University of Chicago. Explorations Prize, and a Rotunda Gallery Emerging Special interest in South Asian cultures, religions, Curator grant for work with fiction and art. Writer in and literatures. Two Fulbright awards for field Residence, Western Michigan University, 2014; research in India. Articles, papers, and poems appear recommendations editor at Post Road, 2010-present. in international venues; ethnographic photographs SLC, 2002– exhibited. Chair of the South Asia Council and member of the board of directors of the Association Janet Reilly Politics for Asian Studies; administrative board of Harvard- AB, Duke University. MSt, Oxford University. MPhil and Radcliffe College; senior fellow, Center for the PhD, City University of New York Graduate Center. Humanities, Wesleyan University; delegate to the Research interests include migration, human rights, United Nations summit on global poverty, held in citizenship, transnationalism, refugee protection Copenhagen; group leader for the Experiment in and asylum, humanitarian relief, and international International Living; national selection boards for law. Current research project examines the Liberian institutional Fulbright grants. SLC, 1990– diaspora’s civic engagement both in the United States and in the process of postconflict peace Emily Lim Rogers Lesbian, Gay, Bisexual, and building in Liberia, paying particular attention to the Transgender Studies role of migration and state policies in influencing BA, Sarah Lawrence College. MPhil, PhD candidate, civic participation in each country. Worked at the New York University. Special interests in the United Nations High Commission for Refugees anthropology of biomedicalization, contested health (UNHCR) in Turkey and Guinea and Save the Children movements, and feminist science studies; writing an Foundation in Ethiopia. SLC, 2012– ethnographic and historical dissertation on chronic fatigue syndrome/myalgic encephalomyelitis and Jacob Rhodebeck Music the politics of diagnosis in the United States. SLC, BM, University of Cincinnati, College–Conservatory of 2019– Music. MM, DMA, Stony Brook University. Pianist known for his tremendous command of the Tristana Rorandelli Italian, Literature instrument and his enthusiasm for performing new BA (Magna cum laude), Università degli Studi di and little-known music, Rhodebeck’s performance of Firenze, Italy. MA, PhD (with distinction), New York Michael Hersch’s three-hour solo piano work, The University. Areas of specialization: 20th-century Vanishing Pavilions, was described as “astounding” Italian women’s writings; modern Italian culture, by David Patrick Stearns in The Philadelphia Inquirer history, and literature; fascism; Western medieval and “a searing performance” in The New York Times. poetry and thought. Recipient of the Julie and Prior to attending college, Rhodebeck studied piano Ruediger Flik Travel Grant, Sarah Lawrence College, with Christopher Durrenberger at Wittenberg for summer research, 2008; Penfield ellof wship, New University. At the University of Cincinnati, College- York University, 2004; and Henry Mitchell Conservatory of Music (CCM), he studied with MacCracken fellowship, New York University, Elizabeth Pridonoff and performed five solo recital 1998-2002. Publications: Nascita e morte della programs featuring contemporary works, as well as massaia di Paola Masino e la questione del corpo a recital comprised entirely of works commissioned materno nel fascismo in Forum Italicum (Spring from student composers. And at Stony Brook 2003). Translations: The Other Place, by Barbara University, he continued his studies with Gilbert Serdakowski, and Salvation, by Amor Dekhis, in Kalish, earning master's and doctorate degrees. Multicultural Literature in Contemporary Italy Rhodebeck has given performances, lectures, and (editors Graziella Parati and Marie Orton, Fairleigh master classes at many universities, including Dickinson University Press, 2007). SLC, 2001-2002; Hamilton College, Vanderbilt University, and the 2004; 2005– Peabody Institute at Johns Hopkins University. He can also be heard on numerous recordings, including 220 Faculty Shahnaz Rouse Joseph Campbell Chair in the Moscow, and Tallinn. Co-founder of Opera Ebony, a Humanities—Sociology historic African American opera company based in BA, Kinnaird College, Pakistan. MA, Punjab University, New York; participated in touring performances of Pakistan. MS, PhD, University of Wisconsin-Madison. Opera Ebony’s acclaimed Black Heritage concert Special student, American University of Beirut, series and served as its conductor over the course of Lebanon. Academic specialization in historical its international run in Canada, Iceland, and sociology, with emphasis on the mass media, gender, Switzerland. SLC, 1996– and political economy. Author of Shifting Body Politics: Gender/Nation/State, 2004; co-editor, Kristin Zahra Sands Frieda Wildy Riggs Chair in Situating Globalization: Views from Egypt, 2000; Religious Studies—Religion contributor to books and journals on South Asia and BA, The New School. MA, PhD, New York University. the Middle East. Visiting faculty, University of Hawaii Special interests include Sufism, Qur’anic exegesis, at Manoa and American University in Cairo. Member, religion and media, and political theology. Author editorial advisory board, Contributions to Indian of Sufi ommentC aries on the Qur’an in Classical Sociology; past member, editorial committee, Middle Islam and numerous articles on mystical exegesis. East Research and Information Project. Past Translator of Abu’l-Qasim al-Qushayri’s Subtle consultant to the Middle East and North Africa Allusions (Part I) for The Great Commentaries on the Program of the Social Science Research Council, as Holy Qur’an Project. SLC, 2003– well as to the Population Council West Asia and North Laura Santander Classics, Latin, Greek Africa Office (Cairo). Recipient of grants from BA, University of Pennsylvania. PhD (abd), New York Fulbright-Hays Foundation, Social Science Research University. Currently writing a dissertation on Council, American Institute of Pakistan Studies, and propaganda in Plato's Republic, using modern Council on American Overseas Research Centers. SLC, advertising to add to the discourse on the role of 1987– philosopher-kings, Plato's education theory, and his Misael Sanchez Filmmaking and Moving Image Arts city-state's potential for manipulation. Special BFA, New York University. Certificate in Producing, interests include propaganda in Graeco-Roman The New School. Co-founder and director of literature, narrative manipulation, political theory, instruction at The International Film Institute of New Platonism, Greek and Roman epic poetry, and the York, currently working in collaboration with Sarah history of modern advertising. SLC, 2019- Lawrence College. Recent production credits include Alejandro Satz Physics a feature-length documentary, Last Call (director BS, MS, University of Buenos Aires. PhD, University of and cinematographer), now in post-production and Nottingham (UK). Research focus on quantum field producer on the feature-length narrative, Central theory and semiclassical gravity. Current research Avenue, scheduled to cast Marisa Tomei and Lorraine involves formulating notions of entanglement Bracco. A book-in-progress on cinematography entropy and informational content for a discrete lighting techniques is titled Lighting Tricks and subset of quantum field observables and ShortCuts. Staff member, faculty member, and head applying them in cosmology, black-hole physics, and of the cinematography concentration at Columbia quantum gravity. Previously researched and taught University’s Graduate Film Division, where he at Penn State University. SLC, 2017– supervises students on thesis productions. Past work includes four one-hour specials on Latinos in the Barbara Schecter Director, Graduate Program in media for network television, short documentary Child Development/Psychology—Psychology projects, films, music videos, and industrials. SLC, BA, Sarah Lawrence College. MA, PhD, Teachers 2009– College, Columbia University. Developmental psychologist with special interests in cultural Wayne Sanders Music psychology, developmental theories, and language BM, Roosevelt University. Voice teacher, coach, and development; author and researcher on cultural pianist; collaborated and performed with Kathleen issues in development and metaphoric thinking in Battle, Jessye Norman, Florence Quivar, and the late children. SLC, 1985– William Warfield; onsultc ant to the Houston Grand Opera, the Savonlinna Opera Festival (Finland), and Carsten Schmidt Music Munich’s Münchener Biennale; provided musical Künstlerische Abschlussprüfung “mit Auszeichnung,” direction for presentations ranging from an all-star Folkwang-Hochschule, Essen, Germany. MM, Artist tribute to Marian Anderson at Aaron Davis Hall (New Diploma, Indiana University. MMA, DMA, Yale York) to Porgy and Bess in Helsinki and Savonlinna, University. Extensive performance and broadcast FACULTY 221 activities as soloist, chamber musician, and soloist cinéma, and collaborated with the Centre Pompidou. with orchestras throughout Europe, North America, Between 2010 and 2015, she taught film studies at a and Japan; numerous master classes, lectures, and newly-established university in Ouarzazate, Morocco. workshops at educational and research institutions. While in Morocco, she actively covered developments Special interests include: keyboard literature and in that country’s national cinema for the online film performance practices; early keyboard instruments; journals Framework and Senses of Cinema. In 2007, the music of Ernst Krenek; the relationship of she published her monograph on a group of avant- performance, analysis, hermeneutics, and recent garde French films made in the aftermath of May gender studies; and the interaction of poetry and ’68: The Zanzibar Films and the Dandies of May 1968 music in song repertoire. Member, artistic board, (Paris Expérimental). In 2016, her translation and Volte Foundation for Chamber Music, the editing of the filmmakers Jean-Marie Straub and Netherlands; artistic director, International Schubert Danièle Huillet, Writings, was published by Sequence Festival 1997; research fellow, Newberry Library; Press (New York). Currently, she is translating the fellow, German National Scholarship Foundation. SLC, letters of Nicolas de Staël. SLC, 2017– 1998– Priyadarshini Shanker Film History Samuel B. Seigle Classics, Greek, Latin, Literature MA, MPhil, PhD (ABD), New York University. Author of BA, University of Pittsburgh. AM, Harvard University. two book chapters on Indian cinema in Classical philologist; scholar of Greek dance, Greek Bollywoodising Literature Forging Cinema: Adaptation and Roman poetic structure, linguistics, ancient & Hindi Cinema (Research India Press, 2015) and The religions and mythology, political and social Cinema of India (Wallflower Press, 2010). Also conventions of ancient cultures and their published peer-reviewed articles, photo essays, and relationship to the contemporary world; president book reviews in Framework: The Journal of Cinema (1973-1975) and censor (1977-1993) of New York and Media, Hitchcock Annual, Screen, Asian Studies Classical Club. SLC, 1964– Review, and MARG. Guest curator at the Museum of Moving Image for Cinema Playhouse Film Screening Vijay Seshadri Writing Series (2018-19) and co-curator for the India BA, Oberlin College. MFA, Columbia University. Author Kaleidoscope Film Festival (2016 and 2017). Special of Wild Kingdom, The Long Meadow, The interests in Indian cinema, star studies, film Disappearances (New and Selected Poems; Harper festivals, and the pedagogy of cinema studies. SLC, Collins India), and 3 Sections (September, 2013); 2019- former editor at The New Yorker; essayist and book reviewer in The New Yorker, The New York Times Book Stuart Shugg Dance Review, The Threepenny Review, The American BA, Victorian College of the Arts, Melbourne, Scholar, and various literary quarterlies. Recipient of Australia. MFA, Bennington College. In Australia, the 2014 Pulitzer Prize for Poetry, James Laughlin Shugg worked extensively with Russell Dumas’ Dance Prize of the Academy of American Poets, MacDowell Exchange and Linda Sastradipradja. He also appeared Colony’s Fellowship for Distinguished Poetic in the works of Lucy Guerin, Philip Adams, and Achievement, The Paris Review’s Bernard F. Conners Antony Hamilton. In New York City, he worked with Long Poem Prize; grants from New York Foundation Jon Kinzel, Jodi Melnick, and Cori Olinghouse and was for the Arts, National Endowment for the Arts, John a member of the Trisha Brown Dance Company from Simon Guggenheim Memorial Foundation; and area 2011 to 2016. He has presented his own studies fellowships from Columbia University. SLC, choreographic work in New York at the Centre for 1998– Performance Research, Gibney Dance Centre, Brooklyn Studios for Dance, Cathy Weis’s Sundays on Sally Shafto Film History Broadway, in Uruguay at Teatro Solis, and in BA, Skidmore College. MA, Columbia University. MA, Melbourne, Australia, at The SUBSTATION and Monash PhD, University of Iowa. Postdoctoral studies, University's Museum of Modern Art. In 2017, he Princeton Univeristy. A widely published worked in Paris, France, with dancers from De l’Air interdisciplinary film scholar, Shafto’s specialties dans l’Art on a Set and Reset/Reset project, based on include the French Wave, international art cinema, choreography by Trisha Brown. Recently, he and Maghribi and African cinema. After defending choreographed a work with students from the her dissertation (Ut picture cinema: The Strange Victorian College of the Arts in Melbourne. He Adventure of Jean-Luc Godard) at the University of continues to teach workshops, classes, and Trisha Iowa, she held a post-doctorate at Princeton Brown repertory internationally. SLC, 2018– University. In Paris, where she lived for a decade, she taught in a film school, translated for Cahiers du 222 Faculty William Shullenberger Literature philosophers. Has taught at Eugene Lang College and BA, Yale University. MA, PhD, University of Fordham University and also presently teaches at Massachusetts. Special interests in Milton, 17th- Pratt Institute. SLC, 2019– century English literature, English Romanticism, African literature, theology and poetics, and Michael Siff Computer Science psychoanalytic criticism. Author of Lady in the BA, BSE., MSE, University of Pennsylvania. PhD, Labyrinth: Milton’s ‘Comus’ as Initiation; co-author University of Wisconsin-Madison. Special interests in with Bonnie Shullenberger of Africa Time: Two programming languages, cryptology, and software Scholars’ Seasons in Uganda; essays published in engineering; author of research papers on interplay Milton Studies, Renaissance Drama, and other between type theory and software engineering. SLC, journals and collections. Senior Fulbright lecturer at 1999– Makerere University, Uganda, 1992-1994; director of Joan Silber Writing (on leave fall semester) NEH Summer Seminars on the classical and the BA, Sarah Lawrence College. MA, New York University. modern epic, 1996 and 1999. SLC, 1982– Author of three story collections: Fools (National Mark R. Shulman History Book Award finalist and nominated for the PEN/ BA, Yale University. MSt, Oxford University. PhD, Faulkner Award), Ideas of Heaven (finalist orf the University of California–Berkeley. JD, Columbia National Book Award and the Story Prize), and In My University. Served as editor-in-chief of the Journal of Other Life; five novels: Improvement (winner of the Transnational Law at Columbia and received the National Book Critics Circle Award in fiction and the Berger Prize for international law. Served as PEN/Faulkner Award for Fiction), The Size of the associate dean for global admissions at New York World, Lucky Us, In the City, and Household Words University and assistant dean for Graduate Programs (winner of the PEN/Hemingway Award); short stories & International Affairs at Pace Law School. Created anthologized in The Scribner Anthology of and directed the Worldwide Security Program at the Contemporary Short Fiction, The Story Behind the EastWest Institute and practiced law at Debevoise & Story, The O. Henry Prize Stories (2007 and 2003), and Plimpton. A long-time leader of the Association of two Pushcart Prize collections. Recipient of a the Bar of the City of New York, he currently chairs literature award from the American Academy of Arts the Committee on Asian Affairs and serves on the and Letters and grants from National Endowment for Council on International Affairs and the Task Force the Arts and New York Foundation for the Arts. SLC, on National Security and the Rule of Law. He 1985– previously chaired the City Bar’s Committee on Lake Simons Theatre International Human Rights and the Council on BFA, University of North Carolina School of the Arts. International Affairs. He has taught the laws of war École Jacques Lecoq, Paris. Theatre work includes at Columbia Law School; military history at Yale, the designing sets, puppets, and costumes and directing, Air War College, and Columbia (SIPA); and human choreographing, and performing. Drawn to rights at Sarah Lawrence and Hunter colleges. He incorporating puppetry, movement, and live music has published widely in the fields of history, law, and into the theatre, shows are frequently made from international affairs. His books include The Laws of the ground up. Work seen in many New York War: Constraints on Warfare in Western theatres, including HERE Theatre, La Mama E.S.T., P.S. World (1994), Navalism and the Emergence of 122, St. Mark’s Church, Dixon Place, and One Arm Red. American Sea Power (1995), An Admiral’s Past collaborative work includes Electric Yarn (1999), and The Imperial Presidency and the Bathing, Wind Set-up, White Elephant, Alice’s Consequences of 9/11 (2007). His articles have Adventures in Wonderland, What’s Inside the Egg?, appeared in the Columbia Journal of Transnational How I Fixed My Engine With Rose Water, and Etiquette Law, Journal of National Security & Policy, Fordham Unraveled. As an artistic associate with the Hip Law Review, Journal of Military History, Intelligence Pocket Theatre in Fort Worth, Texas, designed sets and National Security, and The New York Times, and puppets for a multitude of productions over the among others. SLC, 2009– years, presented seven collaborative theatre pieces, Scott Shushan Philosophy performed in more than 30 world premieres, and BA, Loyola University, New Orleans. PhD, New School launched its Cowtown Puppetry Festival. Puppet/ for Social Research. Interests in aesthetics, moral mask designer for New York Shakespeare Festival, psychology, and the history of ethics. Writes on those Signature Theatre Company, My Brightest Diamond, matters, with a focus on Plato, Aristotle, Hegel, and Division 13, Kristin Marting, Doug Elkins, Cori Wittgenstein, as well as contemporary Orlinghouse, Daniel Rigazzi, and various universities; FACULTY 223 puppetry associate for War Horse on Broadway. Award from the Organization of American Historians. Awarded a variety of grants and awards for theatre The Civil War Era: An Anthology of Sources, edited work. SLC, 2012– with Jim Cullen, was published in 2005; book chapters are included in Love, Sex, Race: Crossing Kanwal Singh Provost and Dean of Faculty—Physics Boundaries in North American History; Divided BS, University of Maryland–College Park. MA, PhD, Houses: Gender and the American Civil War; and A University of California–Berkeley. Postdoctoral Search for Equity. SLC, 1994– research associate, University of Oslo, Norway. Special interests in low-temperature physics, Jacob Slichter Writing science education and education policy, and BA, Harvard College. Author of So You Wanna Be a scientific and quantitative literacy. Author of articles Rock & Roll Star: How I Machine-Gunned a Roomful of in theoretical condensed-matter physics (models of Record Executives and Other True Tales from a superfluid systems) and physics teaching. Taught at Drummer’s Life (Broadway Books, 2004); contributor Middlebury College, Wellesley College, and Eugene to The New York Times; commentator for National Lang College at The New School University. SLC, Public Radio’s Morning Edition; drummer for the 2003– Minneapolis-based band, Semisonic. SLC, 2013–

Paul Singh Dance Fredric Smoler Literature BFA, University of Illinois. Danced for Gerald Casel, BA, Sarah Lawrence College. MA, MPhil, PhD, Erica Essner, Risa Jaroslow, Douglas Dunn, Columbia University. Central interest in European Christopher Williams, and Will Rawls and was history and culture, with special emphasis on featured in the inaugural cast of Punchdrunk military history and literature. Writes regularly for Theatre Company’s American debut of Sleep No More. First of the Month and Dissent; occasional In 2014, he was a dancer in Peter Sellars’ opera, The contributor to The Nation, The Observer (London); Indian Queen. Most recently, he danced for Peter former editor, Audacity; contributing editor, Pleyer in a large-scale improvisation work in Berlin. American Heritage Magazine. SLC, 1987– Work presented at the Judson Church, New York Live Arts, Joe’s Pub, Dixon Place, and La Mama E.T.C; in Michael Spano Visual and Studio Arts (on leave fall 2004, his solo piece, Stutter, was presented at the semester) Kennedy Center in Washington, DC. Taught contact BA, Queens College. MFA Yale University. Solo and improvisation around the world during CI training group shows at the Museum of Modern Art, Fogg Art festivals in Israel, Spain, Germany, France, Finland, Museum, Cleveland Museum of Art, Memphis Brooks and India. In NYC, he continues dancing and Museum of Art, Brooklyn Museum of Art, and choreographing for his company, Singh & Dance. SLC, National Portrait Gallery. Works represented in the 2015– permanent collections of the Whitney Museum of American Art, San Francisco Museum of Modern Art, David Sivesind Psychology St. Louis Art Museum, Baltimore Museum of Art, BA, University of Northern Iowa. Addiction Studies Museum of Fine Art in Boston, Los Angeles County Graduate Certificate, University of Minnesota. MA, Museum of Art, Princeton Museum of Art, Art PhD, New School for Social Research. Assistant Institute of Chicago, and Museum of Modern Art in professor of psychology, Mount Sinai School of New York. Recipient of grants and fellowships from Medicine. Clinical psychologist with special interests New York Foundation for the Arts, Camera Works, in addiction, HIV treatment, chronic health condition CAPS, Art Matters, and the Guggenheim Foundation. identity adjustment, LGBT issues, and integrated Author of Time Frames: City Pictures and Auto psychology practice in health-care settings. SLC, Portraits. SLC, 1999– 2013– Stuart Spencer Theatre Lyde Cullen Sizer Margot C. Bogert Distinguished BA, Lawrence University (Appleton, Wisconsin). MFA, Service Chair—History Sarah Lawrence College. Author of numerous plays BA, Yale University. MA, PhD, Brown University. performed in New York and around the country, Special interests include the political work of including Resident Alien (Broadway Play Publishing). literature, especially around questions of gender and Other plays include In the Western Garden (Broadway race; US cultural and intellectual history of the 19th Play Publishing), Blue Stars (Best American Short and early 20th centuries; and the social and cultural Plays of 1993-94), and Sudden Devotion (Broadway history of the US Civil War. Authored The Political Play Publishing). A playwriting textbook, The Work of Northern Women Writers and the American Playwright’s Guidebook, was published by Farrar, Civil War, 1850-1872, which won the Avery O. Craven Straus and Giroux in 2002. Recent plays are Alabaster 224 Faculty City, commissioned by South Coast Rep, and Judy Society of Church History. Research fellow at ACPE, Garland Died for Your Sins. Former literary manager Inc., a nonprofit organization that provides of Ensemble Studio Theatre; fellow, the Edward Albee accredited clinical education programs for spiritual Foundation; member, Dramatist Guild. SLC, 1991– care professionals of any faith and in any setting. Contributed to Katie Day’s Faith on the Avenue Robin Starbuck Filmmaking and Moving Image Arts (Oxford, 2013), a study of nearly 100 congregations (on leave fall semester) on a single city street in Philadelphia. Has been an BA, Salem College (North Carolina). MFA, School of ordained United Methodist pastor. SLC, 2018– the Art Institute of Chicago. Postgraduate certificate in film/video editing and postproduction, Tisch Frederick Michael Strype Filmmaking and Moving School of the Arts, Film Program, New York Image Arts (on leave yearlong) University. New York-based experimental filmmaker BA, Fairfield University. MFA, Columbia University and animator. Work in experimental video, School of the Arts. Postgraduate study: American installation art, animation, and media design for Film Institute, New York University Tisch School of theatre exhibited in museums, cultural centers, the Arts. Screenwriter, producer, director. Recent galleries, and festivals in the United States, Europe, awards, grants, festivals: Grand Prize, Nantucket Film and South America. Recipient of multiple awards and Festival, Tony Cox Award in Screenwriting; Nantucket fellowships for artist residencies, both nationally Screenwriters Colony; World Jewish Film Festival, and internationally. Her studio orientation is in Askelon, Israel; Tehran International Film Festival; experimental film, animation, and intermedia Berlin Film Festival Shorts; Uppsala Sweden Film installation. Current projects include a documentary Festival; USA Film Festival; Washington (DC) Jewish film on the Apsaalooke Tribe of Montana, Film Festival; Los Angeles International Children’s experimental film projects for installations, and the Film Festival; Temecula Valley International Film ongoing production of video and animation Festival “Best of the Fest”; Portugal Film Festival projections for theatre and opera in New York and Press Award; Fade In Magazine Award/Best Short Europe. A full-time professor of experimental film Screenplay; Angelus Film Festival Triumph Award; and animation, she has been a visiting artist-in- Austin Film Festival Screenwriting Award; Heartland residence at several studios and institutions, Film Festival Crystal Heart Award; New Line Cinema including the Media Technology Center of the Georgia Filmmaker Development Award; Hamptons Institute of Technology in Atlanta and the International Film Festival; Schomburg Cultural Experimental Sound Studio in Chicago. SLC, 2014– Grants. Raindance Pictures: projects developed for Columbia/Tristar/Sony, Lifetime, MTM Productions, Joel Sternfeld The Noble Foundation Chair in Art and Family Channel, FX, Alliance/ Atlantis, Capella Films, Cultural History—Visual and Studio Arts (on Turman-Foster Productions, James Manos leave fall semester) Productions, FX, Avenue Pictures. SLC, 2003– BA, Dartmouth College. Photographer/artist with exhibitions at Museum of Modern Art, Art Institute of Rachelle Sussman Rumph Associate Dean of Chicago, and San Francisco Museum of Modern Art. Studies—History Recipient of two Guggenheim fellowships and a Prix MA, Sarah Lawrence College. PhD, New York de Rome. Author of American Prospects, On This University. Rumph's research and teaching interests Site, Stranger Passing, and 10 other books. SLC, include visual culture theory, media history, critical 1985– race theory, and gender studies. For many years, she taught media and communication studies courses at Stew Stewart Theatre New York University and worked with students as an administrator in the areas of academic advisement Shayna Strom Politics and student support. She is currently a guest faculty Irene Elizabeth Stroud Religion member in the Women's History program and an AB, Bryn Mawr College. MDiv, Union Theological Associate Dean of Studies at SLC. Seminary in the New York City. STM, The Lutheran Sterling Swann Theatre Theological Seminary at Philadelphia. PhD, Princeton BA, Vassar College. Postgraduate training at London University. Research focus on intersections of Academy of Music and Dramatic Art (LAMDA), at religion, race, and class in US history and on Sonia Moore Studio, and with David Kaplan (author, religion’s role in modern science and medicine. Five Approaches to Acting). President and artistic Stroud has presented research on liberal director, Cygnet Productions, National Equity Theatre Protestantism and eugenics at annual meetings of for Young Audiences Company; leading performer, the American Academy of Religion and American Boston Shakespeare Company; guest faculty at FACULTY 225

Storm King School, Western Connecticut State research on the French antiveiling laws and the University, and at Vassar College; certified instructor, reinterpretation of public and private spaces, the Society of American Fight Directors (SAFD); winner of Parisian public transportation system and its role in the Society of American Fight Directors’ 2006 Patrick structuring geographic and social mobility, and the Craen award; designated practitioner, Stough Parisian botanical gardens as an agent and symbol Institute of Breathing Coordination; certified eachert , of national identity. SLC, 2015– Alexander Technique. SLC, 1991– Clifford Thompson Writing Philip Swoboda History BA, Oberlin College. Essayist and creative nonfiction BA, Wesleyan University. MA, MPhil, PhD, Columbia writer; author of the collection Love for Sale and University. Special interest in the religious and Other Essays and the memoir Twin of Blackness, as intellectual history of early modern Europe and in well as essays/articles published in magazines, the history of Eastern Europe, particularly Russia and journals, and anthologies. Recipient of a Whiting Poland. Author of articles on early 20th-century Writers’ Award. SLC, 2016– Russian philosophy and religious thought; served on the executive committee of the Mid-Atlantic Slavic Melisa Tien Theatre Conference. Previously taught at Columbia BA, University of California–Los Angeles. MFA, University, Hunter College, Lafayette College, Columbia University. Diploma, French Culinary University of Wisconsin–Madison. SLC, 2004– Institute. A New York-based playwright, lyricist, and librettist, Tien is the author of the plays Untitled Kenneth Tam Visual and Studio Arts Landscape, The Boyd Show, Best Life, Yellow Card Red BFA, Cooper Union. MFA, University of Southern Card, Familium Vulgare, and Refrain. Mary, her California. Core Residency Program, Museum of Fine musical co-written with composer Matt Frey, will Arts, Houston. Lower Manhattan Cultural Council’s have a workshop at New Dramatists in fall 2019. Her Workspace program, 2017-2018. Solo exhibitions at play Best Life was selected to participate in the 2018 Night Gallery and Commonwealth & Council, Los Bushwick Starr Reading Series and will be part of Angeles, and at MIT’s List Center for Visual Art. JACK’s inaugural season in its new space in Brooklyn. Participated in the 2016 Made in LA Biennial at the Her play Yellow Card Red Card was presented as part Hammer Museum and will have a solo exhibition at of the Ice Factory Festival in 2017 at the New Ohio the Minneapolis Institute of Art in 2018. His work has Theatre and had a workshop production at the been written about in Artforum, Los Angeles Times, American Academy of Dramatic Arts in 2016. In Frieze, Modern Painters, Contemporary Art Review, LA, addition to being a resident playwright at New T Magazine, and ArtReview. Recipient of a grant from Dramatists, she is a New York Foundation for the Arts the Art Matters Foundation, the California fellow in playwriting/screenwriting, a Walter E. Community Foundation Fellowship, and a Foundation Dakin fellow at the Sewanee Writers' Conference, for Contemporary Arts Emergency Grant. Taught at and a recipient of the Theater Masters Visionary Rice University and a faculty member at Bard’s Avery Playwright Award. She has been a resident of the Milton School of the Arts. SLC, 2017– MacDowell Colony and the Millay Colony and was a member of the 2010-2012 Women’s Project Lab. She Mia Theodoratus Music (Celtic Harp) has presented work at the Great Plains Theatre BFA, University of Texas–Austin. MFA, California Conference, the Women Playwrights International Institute of the Arts. Teacher, Irish Arts Center; Conference, and the National Asian American president, Metro Harp Chapter of the American Harp Theatre Conference and Festival. SLC, 2019– Society; founder, NYC Harp Orchestra. Performed at Lincoln Center Outdoors, Congressional Building by Cecilia Phillips Toro Biology invitation of President Obama, Irish Arts Center (NY), BA, Reed College (Portland, Oregon). PhD, Brown and Carnegie Hall. SLC, 2017– University. Postdoctoral Fellow, Oregon Hearing Research Center and Vollum Institute, Oregon Health Nadeen M. Thomas History & Science University. Neurobiologist with a special BA, University of Pennsylvania. MSEd, Hunter College, interest in sensory hair cell function. Author of CUNY. PhD, CUNY Graduate Center. Research interests papers on dopamine in the zebrafish lateral line, include immigration, race, ethnicity, education voltage-gated calcium channels, and synaptic systems, and nationalism in the United States and physiology. Recipient of grants from the National Europe. Also interested in the relationship between Institutes of Health. Previously taught at Linfield the built environment and social organization and College. SLC, 2018– how the layout of urban areas creates spaces of belonging and nonbelonging. Recently presented 226 Faculty Alice Truax Writing Shirley MacLaine (Academy Award BA, Vassar College. MA, Middlebury College. Editor at Nomination). Weill’s TV work includes, among others, The New Yorker, 1992-2002; book editor, Girls (HBO), thirty something (Emmy Award), My So- 2001-present. Book reviews have appeared in The Called Life, and Sesame Street. She directs theatre, New York Times Book Review, The New Yorker, Vogue, mostly new plays, both regionally and in New York and The New York Review of Books. Edited books City, where she also mentors young playwrights. She include Random Family by Adrian Nicole LeBlanc, has taught film directing for many years at Mostly True by Molly O’Neill, Aftermath by Joel University of Southern California and California Meyerowitz, The Surrender by Toni Bentley, Send by Institute of the Arts, TV directing at Columbia William Schwalbe and David Shipley, King’s Gambit by University School of the Arts and The New School, as Paul Hoffman, and Violent Partners by Linda Mills. well as guest teaching at Harvard where she was an SLC, 2004– undergraduate. She is the third woman to have been admitted to the Academy of Arts and Sciences as a Neelam Vaswani Theatre director. SLC, 2019- Originally from Atlanta, GA, Vaswani spent the last 18 years working as a production stage manager and Charmain Wells Dance production manager in New York City. She currently BFA, MA, New York University Tisch School of the serves as the director of production at Sarah Arts. A cultural historian, working in dance studies, Lawrence College. In her freelance career, she has performance studies, black cultural studies, and worked on a wide range of shows, including Mabou queer theory. She is currently pursuing her scholarly Mine’s Peter and Wendy and Mine’s Song for New interests as a doctoral candidate in dance studies at York by the late Ruth Maleczech. She has stage- Temple University. Her research is focused on the managed the majority of Basil Twist’s repertoire, concept of choreographing belonging in the African including, Arias With A Twist, Master Peter’s Puppet diaspora, in particular within concert dance of the Show, Petrushka, Dogugaeshi, La Bella Dormente nel Black Arts Movement in New York City (1965-75). Bosco, and Sister's Follies. Other credits include The This interest stems from her performance Adventures of Charcoal Boy, Wind Set-up, Don background as a dancer with Forces of Nature Dance Cristobal, and Wind-up Bird Chronicle, which was Theatre since 2005. She has worked as an editorial presented at the International Edinburgh Festival assistant on Dance Research Journal and taught in and the Singapore Arts Festival. Vaswani’s work in the dance departments of Lehman College, the theatre has brought her all over the United Marymount Manhattan College, and Temple States, as well as overseas to France, Stockholm, University. SLC 2017– Edinburgh and Singapore. Currently, she is also a member of the Alphabet Arts collective, whose focus Sarah Wilcox Sociology is to continue arts education through poetry and BA, Wesleyan University. MA, PhD, University of puppetry—specifically to underprivileged Pennsylvania. Areas of expertise include medical communities. And when not working in a dark sociology, the sociology of science and knowledge, theatre, she is the project manager for Emdee gender and sexuality, and the mass media; special International, a textile company where she designs, interests in interactions among experts, laypersons, builds, and does all the visual merchandising for six and social movements. Recent new courses in annual trade shows. SLC, 2016– disability studies and the politics of health. Author of articles on lay knowledge and expertise and on Ilja Wachs Ilja Wachs Chair in Outstanding Teaching media coverage of biological ideas about sexuality. and Donning—Literature SLC, 2005– BA, Columbia College. Special interest in 19th-century European and English fiction, with emphasis on Megan Williams Dance psychological and sociological relationships as Fiona Wilson Literature revealed in works of Dickens, Tolstoy, Dostoevski, MA, University of Glasgow. MA, PhD, New York Balzac, Stendhal, James, Flaubert, and others. Dean University. Scholar and poet. Special interests in of the College, 1980-85. SLC, 1965– 18th- to 21st-century British and Irish literature, Claudia Weill Filmmaking and Moving Image Arts ecocriticism, poetry and poetics, and studies in A film, elevision,t and theatre director, Weill's feature Scottish culture. Recipient of fellowships and awards films include Girlfriends, made independently and from the Institute of the Advanced Study of the sold to Warner Bros (currently streaming on the Humanities, University of Edinburgh (2012), Keats- Criterion Channel); It's My Turn for Columbia Pictures; Shelley Association of America (2009), Hawthornden and The Other Half of the Sky, A China Memoir, with International Retreat for Writers (2008), Center for FACULTY 227

Book Arts, New York (2007), and Scottish Poetry Documentary; winner, Best Director, Documentary, Library (2006). Former chair of the Scottish Sundance Film Festival; winner, Special Jury Prize, Literature Discussion Group of the Modern Language Dramatic Competition, Sundance Film Festival; Association. Author of essays published in Teaching winner, Audience Choice Award, Best Documentary Robert Louis Stevenson (MLA, 2013), Edinburgh Feature, Nashville Film Festival; winner, HBO Companion to James Hogg (Edinburgh University Hometown Hero Award, Miami Gay and Lesbian Film Press, 2012), Romanticism’s Debatable Lands Festival; nominee, Audience Award, Best (Palgrave, 2007), Keats-Shelley Journal (2005), and Documentary, Palm Springs International Film elsewhere. Poetry published in Literary Imagination, Festival; winner, Audience Award, Best Documentary, Edinburgh Review, From Glasgow to Saturn, Poetry Frameline Film Festival; winner, AARP Silver Image Review, Literary Review. SLC, 2008– Award, Reeling Film Festival; winner, Jury Award Best Documentary, OUTshine Film Festival; winner, Jury James Wilson Music (Cello) Award Best Documentary Feature, Reeling: Chicago BM, University of Michigan. MM, The Peabody LGBTQ+ International Film Festival; winner, Best Institute of The Johns Hopkins University. Recitalist Feature, Artivist Film Festival; winner, Best and chamber musician, member of the Orpheus Documentary, Rhode Island International Film Chamber Orchestra; appeared at Lincoln Center, Festival; TELLY® Award; Platinum Best in Show, Carnegie Hall, Kennedy Center, Musikverein in Aurora Award; first place, Chicago International Film Vienna, Koelner Philharmonie, National Concert Hall Festival; Creative Excellence Award, U.S. International in Taipei, and Sydney Opera House. Performed at the Film and Video Festival. Professional awards/ Hong Kong Arts Festival, City of London Festival, affiliations include: Sarah Lawrence College Deutches Mozartfest in Bavaria, Kuhmo Chamber Alumnae/i Citation for Achievement; Hall of Fame, Music Festival in Finland, Mostly Mozart Festival in Miami Beach Senior High School Alumni Association; New York, and Aspen Music Festival in Colorado. Producers Guild of America; International Former member of the Shanghai and Chester String Documentary Association; IFP; Women in Film. Quartets and the Da Capo Chamber Players. Currently Founder, White Dock and Studio On Hudson artistic director of the Richmond-based Chamber production companies. SLC, 2011– Music Society of Central Virginia. Teaches cello and chamber music at Columbia University in New York Komozi Woodard History City and faculty member of the Bennington Chamber BA, Dickinson College. MA, PhD, University of Music Conference in Vermont. SLC, 2017– Pennsylvania. Special interests in African American history, politics, and culture, emphasizing the Black Matthew Wilson Music (Percussion) Freedom Movement, women in the Black Revolt, US New York-based drummer, Grammy nominee, urban and ethnic history, public policy and persistent celebrated jazz artist universally recognized for his poverty, oral history, and the experience of anti- musical and melodic drumming style, as well as colonial movements. Author of A Nation Within a being a gifted composer, bandleader, producer, and Nation: Amiri Baraka and Black Power Politics and teaching artist. Performed at the White House as reviews, chapters, and essays in journals, part of an all-star jazz group for a state dinner anthologies, and encyclopedia. Editor, The Black concert hosted by President Obama. Featured on the Power Movement, Part I: Amiri Baraka, From Black covers of Downbeat and JazzTimes magazines in Arts to Black Radicalism; Freedom North; November 2009. Voted #1 Rising Star Drummer in the Groundwork; Want to Start a Revolution?; and Women Downbeat Critic’s Poll. Committed to jazz education, in the Black Freedom Struggle. Reviewer for he travels the world with the Matt Wilson Quartet to American Council of Learned Societies; adviser to the inspire children. SLC, 2017– Algebra Project and the PBS documentaries, Eyes on the Prize II and America’s War on Poverty; board of Heather Winters Filmmaking and Moving Image Arts directors, Urban History Association. SLC, 1989– BA, Sarah Lawrence College. University of London, School of Visual Arts. An American film producer, Wendy Veronica Xin Literature director, and writer and a two-time Sundance BA, BS, Washington University in St. Louis. MA, PhD, winning executive producer. Credits include: Oscar- University of California, Berkeley. Teaching and nominated Super Size Me; TWO: The Story of Roman & research interests in 19th-century literature, novel Nyro; The Rest I Make Up (Best Movies of 2018, The history, film and media studies, narrative theory, New Yorker), Anywhere, u.s.a.; Class Act; Convention; affect theory, critical race theory. Completing a book Google Me; ThunderCats; Silverhawks; The Comic manuscript, called The Secret Lives of Plot, on how Strip; MTV’s Real World. Select project awards literary form and issues of belonging intersect in the include: Academy Award nomination, Best 228 Faculty theory of plot. Tentative title of second book project a collection of talks and essays, from Semiotext(e)’s is Third Forms: Realism, Genre, Critique. Articles Native Agents and Screen Tests, a collection of published or forthcoming in New Literary History, stories and other writing, from Harper Perennial. NOVEL: A Forum on Fiction, Nineteenth-Century Zambreno is at work on a book on Hervé Guibert for Literature, The International Journal of Scottish Columbia University Press and a series of novels Theatre and Screen, and Fictionality and Literature: thinking through language, the city, and time. She Core Concepts Revisited. SLC, 2019- also teaches at Columbia University. SLC, 2013–

John Yannelli Director, Program in Music and Music Francine Zerfas Theatre Technology; William Schuman Scholar in BFA, New York University, Tisch School of the Arts. Music—Music, Dance MFA, New School University. Teacher of voice and BPh, Thomas Jefferson College, University of speech at New York University’s Playwrights Michigan. MFA, Sarah Lawrence College. Composer, Horizons Theater School and Atlantic Theater Acting innovator in the fields of electronic music and music School; adjunct professor at Brooklyn College. for theatre and dance, composer of traditional and Conducted Fitzmaurice Voicework™ and Shakespeare experimental works for all media, specialist in workshops in Melbourne, Australia (2005), and at improvisational techniques, and director of the the Centro Em Movimento in Lisbon, Portugal (1997, Sarah Lawrence Improvisational Ensemble. Toured 1998), where she also coached Eugene O’Neill’s nationally with the United Stage theatre company Mourning Becomes Electra. Served as vocal and conceived of, and introduced the use of, consultant on 666 Park Avenue TV series and was electronic music for the productions. Freelance vocal coach for The Play What I Wrote (directed by record producer and engineer; music published by Kenneth Branagh) on Broadway, Me Myself and I by Soundspell Productions. SLC, 1984– Edward Albee (directed by Emily Mann) at Playwrights Horizons Theater, and The Family Mali Yin Chemistry Weekend by Beth Henley (directed by Jonathan BS, Shaanxi Normal University, China. PhD, Temple Demme) for Manhattan Class Company Theater, as University. Postdoctoral research associate, well as Stanley, an Off-Off Broadway production Michigan State University. Researcher and author of (directed by Pulitzer Prize finalist Lisa D’Amour) at articles in areas of inorganic, organic, and protein HERE Arts Center. Master teacher of Chuck Jones chemistry; special interests in synthesis and Vocal Production and an associate teacher of structure determination of inorganic and Catherine Fitzmaurice Voicework and Level I, Alba organometallic compounds by X-ray diffraction and Emoting Certification. Studied yoga in New Dehli, various spectroscopic techniques, protein India; trained extensively in ballet and modern dance crystallography, environmental chemistry, and and performed with various independent material science. SLC, 1996– choreographers and dance companies in Minneapolis. Co-founder of Tiny Mythic Theatre Mia Yoo Theatre Company in New York City and both an actor and a Thomas Young Music writer for the company. Other past performances Cleveland Music School Settlement. Cleveland include leading roles in A Dream Play by August Institute of Music. Singer, actor, and conductor; Stringberg, When We Dead Awaken by Henrick Ibsen, founder and conductor, Los Angeles Vocal Ensemble; Apocrypha by Travis Preston and Royston Coppenger principal with San Francisco Opera, Royal Opera at the Cucaracha Theatre, Two Small Bodies at the House, Opéra La Monnaie, Netherlands Opera, Opéra Harold Clurman Theatre, The Eagle Has Two Heads at de Lyon, New York City Opera, and Houston Grand the Ohio Theatre in Soho, and Democracy in America Opera; festivals in Vienna, Salzburg, Holland, Maggio, at the Yale Repertory Theatre and Center Stage. She and Munich; two Grammy nominations; two Cleo has appeared in several films, including Irony, In nominations; national tours, Broadway, Off Shadow City, and The Smallest Particle by Ken Broadway, regional theatre, and television. SLC, Feingold and The Madness of the Day by Terrance 1989– Grace. As a writer, she has collaborated with both The Private Theatre and Tiny Mythic Theatre, Kate Zambreno Writing creating original works. SLC, 2013– Author of the novels Green Girl (Harper Perennial) and O Fallen Angel (Harper Perennial), Zambreno is also the author of Heroines (Semiotext(e)’s Active Agents) and Book of Mutter (Semiotexte(e)’s Native Agents). Forthcoming in 2019: The Appendix Project, FACULTY 229

Charles Zerner Barbara B. and Bertram J. Cohn California–Irvine, Humanities Research Institute, and Professorship in Environmental Woodrow Wilson International Center for Scholars. Studies—Environmental Studies Recipient of Fulbright-Hays fellowship for fieldwork BA, Clark University. MArch, University of Oregon. JD, in Indonesia, National Endowment for the Northeastern University. Areas of specialization: Humanities, and Social Science Research Council. landscape studies, environmental arts and SLC, 2000– humanities, political ecology, and environmental justice. Recent research focuses on urban and post- Carol Zoref Director, The Writing Center—Writing industrial landscapes of the anthropocene and BA, MFA, Sarah Lawrence College. Fiction writer and visions for future interventions in a time of climate essayist. Recipient of fellowships and grants from change. Field research on an ancient market garden Virginia Center for Creative Arts, Hall Farm Center for in Istanbul; migrant families’ kitchen gardens in Arts, and In Our Own Write. Winner of I.O.W.W. Kathmandu, and landscapes in Israel and the Emerging Artist Award and finalist orf the Henfield occupied Palestinian territories. Earlier research on Award, American Fiction Award, and Pushcart Prize. fishing and agrarian communities of Sulawesi, Winner of 2015 A.W.P. (Associated Writing Programs) Indonesia, community-based reef management in Novel Award for Barren Island (New Issues Press, Maluku Islands; groundwater salinization in west University Western Michigan). SLC, 1996– Java; indigenous communities and logging Elke Zuern Politics concessions, Kalimantan. Former program director, AB, Colgate University. MA, MPhil, PhD, Columbia the Rainforest Alliance. Contributing author and University. Research interests include social editor, People, Plants, and Justice: The Politics of movements in new democracies, popular responses Nature Conservation (Columbia University Press to poverty and inequality, violence in 2000) and Culture and the Question of Rights: democratization processes, reparations, collective Forests, Coasts, and Seas in Southeast Asia (Duke memory, memorials and reconciliation. Regional University Press 2003). Co-editor of Representing specialization: sub-Saharan Africa, with extensive Communities: Politics and Histories of Community- fieldwork in South Africa and Namibia. Author of The Based Natural Resource Management (2005) Politics of Necessity: Community Organizing and and Making Threats: Biofears and Environmental Democracy in South Africa (University of Wisconsin Anxieties (AltaMira Press, 2005). Recent chapters Press, 2011). Recipient of a Mellon postdoctoral and articles include “Insurgent Ecologies: Rhetorics fellowship at Amherst College and a Lowenstein of Resistance and Affirmation inedikule, Y Istanbul’s fellowship. Former Van Zyl Slabbert Chair at the Ancient Market Garden (2020), “The Garden of University of Cape Town and Visiting Scholar at the Dreams: Weedy Landscapes in Kathmandu,” (2016), University of Johannesburg. Articles published “Landscapes in Translation: Traveling the Occupied in Democratization, Comparative Politics, African Palestinian Territories and Israel with Raja Shehadeh Affairs, Journal of Modern African Studies, Politique and David Grossman (2014), and “Honey in the City, Africaine, Transformation, and African Studies Just Food’s Campaign for Legalizing Beekeeping in Review, among others. For more information: New York City” (2012). Director, Intersections http://slc.academia.edu/ElkeZuern. SLC, 2002– Colloquium Series: Border Zones in Environmental Studies. Residencies at University of 230 Notes Left blank for your notes. NOTES 231

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