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Home , Achille Campanile, Clark University, Classic Stage Company, Colin Cloud, Danish Dance Theatre, David Diamond (composer)

Undergraduate Course Offerings 2017-2018 CALENDAR

FALL 2017

Saturday, August 26 Opening day New students arrive

Monday, August 28 Returning students arrive

Tuesday, September 5 Convocation held in Reisinger, 1:30–3 p.m.

Monday, October 16 October study days Tuesday, October 17

Wednesday, November 22 Thanksgiving recess through Sunday, November 26

Friday, December 15 Last day of classes

Saturday, December 16 Residence halls close at 10 a.m.

SPRING 2018

Sunday, January 14 Students return

Saturday, March 10 Spring break through Sunday, March 25

Friday, May 11 Last day of classes

Sunday, May 13 Residence halls close for first ears,y sophomores, and juniors at 5 p.m.

Friday, May 18 Commencement Residence halls close at 8 p.m. The ...... 3 Japanese ...... 62 Africana Studies ...... 3 Latin ...... 63 ...... 3 Latin American and Latino/a Studies . . 64 Architecture and Design Studies ...... 6 Lesbian, Gay, Bisexual, and Transgender History ...... 6 Studies ...... 65 Asian Studies ...... 10 Literature ...... 67 Biology ...... 12 Mathematics ...... 78 Chemistry ...... 15 Middle Eastern and Islamic Studies . . . . 81 Chinese ...... 17 Modern and Classical Languages and Classics ...... 18 Literatures ...... 81 Cognitive and Brain Science ...... 19 Music ...... 82 Computer Science ...... 19 Philosophy ...... 93 ...... 21 Physics ...... 95 Development Studies ...... 27 Political Economy ...... 97 ...... 27 Politics ...... 98 Environmental Studies ...... 29 ...... 102 Ethnic and Diasporic Studies ...... 30 Public Policy ...... 114 Film History ...... 31 Religion ...... 115 Filmmaking and Moving Image Arts . . . . 34 Russian ...... 118 French ...... 43 Science and Mathematics ...... 119 Games, Interactive Art, and New 45 Pre-Health Program Gender and Sexuality Studies ...... 45 ...... 120 ...... 46 Sociology ...... 120 German ...... 48 Spanish ...... 125 Greek (Ancient) ...... 49 Theatre ...... 126 Health, Science, and Society ...... 50 Urban Studies ...... 139 History ...... 51 Visual and Studio Arts ...... 139 International Studies ...... 59 Writing ...... 146 Italian ...... 61 Faculty ...... 157 Sarah Lawrence is accredited by the Middle Modern Language and Literature (1101) BA States Association and the 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 (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

Revolutionary Lives: Biographical Perspectives on THE CURRICULUM the Black Freedom Movement (p. 57), Priscilla Murolo History The Curriculum of the College as planned for Epic Vision and Tradition From the Odyssey to 2017-2018 is described in the following pages. All Walcott’s Omeros (p. 69), William Shullenberger courses are planned as full-year courses, except as Literature otherwise indicated. Where possible, seminar First-Year Studies in Literature: Texting and descriptions include examples of areas of study in Intertexting (p. 69), William Shullenberger which a student could concentrate for the Literature conference portion of the course. In a seminar African Politics (p. 100), Elke Zuern Politics course, each student not only pursues the main Amandla! Power, Prejudice, Privilege, and South course material but also selects a related topic for African Human Development Under and After concentrated study, often resulting in a major paper. Apartheid (p. 105), Kim Ferguson (Kim Johnson) In this way, each seminar becomes both a shared Psychology and an individual experience. American Muslims: History, Politics, and Culture (p. 117), Kristin Zahra Sands Religion First-Year Studies: Islam (p. 115), Kristin Zahra Sands Religion AFRICANA STUDIES

Africana studies at embrace ANTHROPOLOGY a number of scholarly disciplines and subjects, including anthropology, architecture, art history, dance, economics, film, filmmaking, history, Islamic The study of anthropology traditionally covers studies, law, literature, philosophy, politics, fields: sociocultural anthropology, linguistic psychology, religion, sociology, theatre, and writing. anthropology, biological anthropology, and Students examine the experience of Africans and of archaeology. At Sarah Lawrence College, we people of African descent in the diaspora, including concentrate on sociocultural and linguistic those from Latin America, the Caribbean, North anthropology. America, and beyond. Study includes the important Behind almost every aspect of our lives is a cultural, economic, technological, political, and cultural realm, a shared construction that shapes social intellectual interplay and exchanges of these assumptions and determines much of how we peoples as they help make our world. perceive and relate to the world. Sociocultural Students will explore the literature of Africans anthropology is the study of that realm—its extent and peoples of African descent in various languages, and its effects. As students learn to approach with including Spanish, Portuguese, French, and English. an anthropological eye what they formerly might The dynamics of immigration and community have taken for granted, they gain insight into how formation are vital in this field. Students will social forces govern the ways in which we relate to examine the art and architecture of Africa and the ourselves and to each other: how we use words, how diaspora, along with their history, societies, and we define ourselves and others, how we make sense cultures; their economy and politics; the impact of of our bodies, even how we feel emotions. Through Islam and the Middle East; the processes of slavery; examining the writings of anthropologists, viewing the slave trade and colonialism; and postcolonial ethnographic films, and discussing these and other literature in Africa, Latin America, and the materials in seminar and conference sessions, Caribbean. The program also includes creative work students develop a comprehensive and in filmmaking, theatre, and writing. multipatterned sense of the cultural dimensions of human lives. By studying the underpinnings of Courses offered in related disciplines this year are language, symbolic practices, race, gender, sexuality, listed below. Full descriptions of the courses may be policy and advocacy, medical systems, cities, found under the appropriate disciplines. modernity, and/or social organization across a range of and non-Western settings, students come African Diasporic Dance (p. 22), Efeya Ifadayo M to understand better how meaning is made. With Sampson Dance seminar dynamics and content characteristic of First-Year Studies: In the Tradition: An Introduction graduate-level work, Sarah Lawrence’s anthropology to African American History (p. 52), Komozi courses take students in often unexpected and Woodard History challenging directions. 4 Anthropology First-Year Studies in wide variety of reasons. This seminar examines the Anthropology: The Anthropology of meanings and processes, cross-culturally, of adoption—defined here as the placement of Images children to be raised permanently by others. We will Robert R. Desjarlais explore this process anthropologically in countries Open, FYS—Year and cultures across the globe, including the United A few cartoons lead to cataclysmic events in Europe; States, Australia, Hawaii, Tanzania, , Argentina, a man’s statement that he “can’t breathe” ricochets Sweden, Chile, Nigeria, and . As well as looking across North America; a photograph printed in a within particular ethno-local sites, we will pay newspaper moves a solitary reader; a snapshot considerable attention to the global movement of posted on the Internet leads to dreams of fanciful children to adoption. There is great variety in the places; memories of a past year haunt us like ghosts. circumstances of transnational adoption from What each of these occurrences has in common is Swedish people seeking adoptive daughters in Chile that they all entail the force of images in our lives, to the Kindertransports at the start of World War II be these images visual or acoustic in nature, made and to the North American Orphan Trains of the 19th by hand or machine or circulated by word of mouth, and 20th centuries. Questions we will examine or simply imagined. In this seminar, we will consider include: What is the difference between fostering the role that images play in the lives of people in and adoption? Why do people talk about “giving up” various settings throughout the world. In delving into a child for adoption? Why is adoption welcomed in terrains at once actual and virtual, we will develop some cultures and hidden in others? When and why an understanding of how people throughout the do adoptive parents attempt to expose their children world create, use, circulate, and perceive images and to their cultures of origin? Why is adoption discourse how such efforts tie into ideas and practices of more about parents getting children than children sensory perception, time, memory, affect, getting parents? Why are the legal records of an imagination, sociality, history, politics, and personal adoption sealed? How do race, class, and gender play and collective imaginings. Through these out in adoption scenarios? The materials for this engagements, we will reflect on the undamentf al class include literature, scholarly articles, human need for images, the complicated politics and ethnographic accounts, historical documents, and ethics of images, aesthetic and cultural sensibilities, film. onfC erence work may be done on any aspect of dynamics of time and memory, the intricate play the class, as well as on other topics in the between the actual and the imagined, and the anthropology of kinship or in the ethnographies of circulation of digital images in an age of cultures and places encountered in the course globalization. Readings are to include a number of materials. writings in anthropology, art history, philosophy, psychology, cultural studies, and critical theory. Images are to be drawn from photographs, paintings, Telling Lives: Life History Through sculptures, drawings, films, videos, graffiti,eligion, r Anthropology rituals, tattoos, inscriptions, novels, poems, road Mary A. Porter signs, advertisements, dreams, fantasies, Open, Seminar—Spring phantasms, and any number of fabulations in the Through studying life-history narratives (one worlds in which we live and imagine. person’s life as narrated to another), autobiographical memoir, and more experimental Global Adoptions: An Anthropology forms in print and on screen, we will explore the diverse ways that life courses are experienced and of Kinship represented. Throughout our readings, we will Mary A. Porter carefully examine the narratives themselves, paying Open, Seminar—Fall attention to the techniques of life-history We tend to assume that family-building involves construction and familiarizing ourselves with deeply personal, intimate, and “natural” acts in ethical, methodological, and theoretical challenges. making a relationship (marriage) and in becoming We will consider a number of questions about telling parents (sex). But in actual practice, the pragmatics lives: What is the relationship between the narrator of forming (and disbanding) families are much more and his or her interlocutor(s)? How does a life- complex. There are many instances where a desired history approach inform debates about pregnancy is biologically impossible: infertility or gay representation? What can the account of one parents, for example. Conversely, there are children person’s life tell us about the wider culture of which born to individuals who will not parent them for a he or she is a part? How can individual life narratives THE CURRICULUM 5 shed light on issues such as poverty, sexuality, Despite these challenges, ethnographic research is colonialism, disability, , and aging? The generally considered one of the best ways to form a selected texts attend to lives in various parts of the nuanced and contextually rich understanding of a world, including Australia, Great Britain, the particular social world. To gain an informed sense of Caribbean, East Africa, and the . the methods, challenges, and benefits of just such Students will also analyze primary sources and an approach, students in this course will try their create a life history as part of their work for the hands at ethnographic research and writing. In the course. fall semester, each student will be asked to undertake an ethnographic research project in order Gendering (in) African to investigate the features of a specific social world—such as a homeless shelter, a religious Postcolonies festival, or a neighborhood in Brooklyn. In the spring, Mary A. Porter she or he will craft a fully realized piece of Sophomore and above, Seminar—Fall ethnographic writing that conveys something of the The African continent and its peoples have features and dynamics of that world in lively, experienced many interventions, both material and accurate, and comprehensive terms. Along the way, discursive, at the hands of Europeans from the and with the help of anthropological writings that period of 19th-century colonization to the present. are either exceptional or experimental in nature, we The continent itself was gendered female by 19th- will collectively think through some of the most century European writers with their metaphors of important features of ethnographic projects—such penetration and conquest. Colonial officials, settlers, as interviewing others, the use of fieldnotes, the explorers, and missionaries all wrote about gender interlacing of theory and data, the role of dialogue arrangements that were, at the very least, puzzling, and the author’s voice in ethnographic prose, and while institutions such as polygynous marriage, the ethnical and political responsibilities that come women political leaders, and “female husbands” with any attempt to understand and portray the lives were considered un-Christian and uncivilized. In of others. Prerequisite: Previous course work in more recent decades, African gender systems anthropology. regarding women's and queer rights have been the subject of European advocacy. In Malawi, for Other courses of interest are listed below. Full example, the British government made aid to that descriptions of the courses may be found under the country dependent on their government's humane appropriate disciplines. treatment of queer citizens. In this class, we will focus primarily on African gendered experiences, First-Year Studies: Pilgrimage and Initiation (p. 10), from African perspectives, through anthropological, Sandra Robinson Asian Studies historical, and literary texts. We will note ways in Hindu Iconography and Ritual (p. 12), Sandra which various African gender practices shift and are Robinson Asian Studies contested, both locally and at state levels, in a Images of India: Text/Photo/Film (p. 12), Sandra number of societies and nation states, including in Robinson Asian Studies Sudan, Uganda, Nigeria, Kenya, and South Africa. We Understanding Property: Cultural and Environmental will look at changes of gendered experience and how Perspectives (p. 29), Charles Zerner organization changed as the period of European Environmental Studies colonization made way for African “independence” in First-Year Studies: Introduction to Development the context of globalization. Studies: The Political Ecology of Development (p. 47), Muldavin Ethnographic Research and Geography The Geography of Contemporary China: A Political Writing Ecology of Reform, Global Integration, and Rise Robert R. Desjarlais to Superpower (p. 47), Joshua Muldavin Advanced, Seminar—Year Geography Javanese shadow theatre, Bedouin love poems, and and Equity in Education: Issues of Gender, American ordinary affects are but a few of the Race, and Class (p. 58), Nadeen M. Thomas cultural realities that anthropologists have History effectively studied and written about. This is no easy Global Masculinities (p. 66), John (Song Pae) Cho task, given the substantial difficulties involved in Lesbian, Gay, Bisexual, and Transgender Studies understanding and portraying the concerns, activities, and logic of lives other than one’s own. 6 Architecture and Design Studies Love, Sex, and Globalization (p. 65), John (Song Pae) history and environmental studies; and sculpture Cho Lesbian, Gay, Bisexual, and Transgender and art history courses that engage issues of Studies technology, expression, and transgression in the Queer New Media (p. 67), John (Song Pae) Cho uses of the techniques and crafts of construction. Lesbian, Gay, Bisexual, and Transgender Studies When coordinated with participating faculty, Cross-Cultural Listening (p. 82), Niko Higgins Music programs of study offer an excellent preparation for Ecomusicology: Music, Activism, and Climate further engagement in the fields of architecture Change (p. 83), Niko Higgins Music (both theory and practice), in digital and First-Year Studies: From Homer to Plato (p. 93), environmental design, and in . Abraham Anderson Philosophy Challenges to Development: Child and Adolescent Courses offered in related disciplines this year are Psychopathology (p. 112), Jan Drucker listed below. Full descriptions of the courses may be Psychology found under the appropriate disciplines. Constructing Citizenship, Dismantling Hierarchies: A Paradox for Painters: European Art of the 16th and The Immigrant and Racial Struggle for Political 17th Centuries (p. 8), Joseph C. Art History Equality (p. 114), Luisa Laura Heredia Public Exhibition as Form (p. 10), Kevin Lotery Art History Policy More or Less: Architectural Theory From Modern to The Art of Protest (p. 114), Luisa Laura Heredia Public Contemporary (p. 9), Joseph C. Forte Art History Policy Romanesque and Gothic: Art and Architecture at the First-Year Studies: The Hebrew Bible (p. 115), Birth of Europe (p. 7), Jerrilynn Dodds Art Cameron C. Afzal Religion History Borders and Transnational Mobilities (p. 121), Landscapes in Translation: Cartographies, Visions, Parthiban Muniandy Sociology and Interventions (p. 30), Charles Zerner Cities of the Global South (p. 121), Parthiban Environmental Studies Muniandy Sociology Understanding Property: Cultural and Environmental Temporariness and Displacement: Refugees, Perspectives (p. 29), Charles Zerner Migrants, and Aliens (p. 123), Parthiban Environmental Studies Muniandy Sociology Mathematical Modeling I: Multivariable Calculus (p. 80), Philip Ording Mathematics Mathematical Modeling II: Differential Equations and ARCHITECTURE AND DESIGN Linear Algebra (p. 80), Philip Ording Mathematics STUDIES The New Elements: Mathematics and the Arts (p. 79), Philip Ording Mathematics Architecture and design studies at Sarah Lawrence Art and Visual Perception (p. 113), Elizabeth Johnston College is a cross-disciplinary initiative that offers a Psychology variety of analytical approaches to the cultural act Wherever You Go, There You Are: An Exploration of of constructing environments, buildings, and Environmental Psychology (p. 108), Magdalena aesthetic, yet functional, objects. Courses in Ornstein-Sloan Psychology architectural and art history and theory, computer 3D Modeling (p. 145), Shamus Clisset Visual and design, environmental studies, physics, and Studio Arts sculpture allow students to investigate—in both Introduction to Digital Imaging (p. 145), Shamus course work and conference—a wide range of Clisset Visual and Studio Arts perspectives and issues dealing with all facets of built design. These perspectives include theoretical explorations in history and criticism, formal approaches that engage sociopolitical issues, ART HISTORY sustainable problem solving, and spatial exploration using both digital and analog design tools. The art history curriculum at Sarah Lawrence College Courses of study might include structural covers a broad territory historically, culturally, and engineering in physics and projects on bridge design methodologically. Students interested in art theory, that reflect these structural principles in courses on social art history, or material culture have virtual architecture and sculpture; the study of the considerable flexibility in designing a program of architecture and politics of sustainability in class study and in choosing conference projects that link and conference work for art and architectural artistic, literary, historical, social, philosophical, and THE CURRICULUM 7 other interests. Courses often include field trips ot craft of reading and interpreting visual images on major museums, auction houses, and art galleries in their own terms. Students need to be able to and the broader regional area, as well schedule time on some Saturdays to take the college as to relevant screenings, performances, and van to to do assignments or attend the architectural sites. Many students have extended occasional class at various museums in New York their classroom work in art history through City. internships at museums and galleries, at nonprofit arts organizations, or with studio artists; through Islamic Art and Society their own studio projects; or through advanced-level senior thesis work. Jerrilynn Dodds Sarah Lawrence students have gone on to Open, Lecture—Fall graduate programs in art history at Columbia, Johns This course will explore the architecture and visual Hopkins, Northwestern, Bard, Williams, Yale, arts of societies in which Islam is a strong political, of Chicago, Oxford University, and cultural, or social presence. We will follow the University of London, among others. Many of their history of some of these societies through the classmates have pursued museum and curatorial development of their arts and architecture, using work at organizations such as the Guggenheim case studies to explore their diverse artistic Museum, the Metropolitan Museum of Art, and the languages from the advent of Islam through the Art Institute of Chicago; others have entered the art contemporary world. We will begin with an by working at auction houses such as introduction to the history surrounding the advent of Sotheby’s or by starting their own galleries; and still Islam and the birth of arts and architecture that others have entered professions such as nonprofit respond to the needs of the new Islamic community. arts management and advocacy, media production, We will proceed to follow the developments of and publishing. diverse artistic and architectural languages of expression as Islam spreads to the Mediterranean First-Year Studies: Art and History and to Asia, Africa, Europe, and North America, exploring the ways in which arts can help define and Jerrilynn Dodds express identities for people living in multi- Open, FYS—Year confessional societies. We will then draw this The visual arts and architecture constitute a central exploration into the present day, in which global part of human expression and experience, and both economics, immigration, and politics draw the grow from and influence our lives in profound ways architecture and artistic attitudes of Islam into the that we might not consciously acknowledge. In this global contemporary discourse. Our work will include course, we will explore intersections between the introductions to some of the theoretical discourses visual arts and cultural, political, and social history. that have emerged concerning cultural We will ask in what ways works of art can be used as representation and exchange and appropriation in documents for understanding history and will seek art and architecture. One of our allied goals will be to to understand how different approaches to the learn to read works of art and to understand how an interpretation of art can be used to reveal different artistic expression that resists representation can kinds of understanding of the conditions and connect with its audience. And throughout this concerns of the people who created them and of course, we will ask: Can there be an Islamic art? their audiences. What meaning did these works convey, and how did they communicate—both consciously and Romanesque and Gothic: Art and unconsciously? We will also discuss a number of Architecture at the Birth of Europe issues of contemporary concern; for instance, the Jerrilynn Dodds destruction of art, free speech and respect of Open, Lecture—Spring religion, and the art market and the museum. Our This course explores the powerful architecture, work will include analysis of images and readings sculpture, and painting styles that lie at the heart of from the works of art historians, historians, social the creation of Europe and the idea of the West. We scientists, philosophers, and theorists. We will will use a number of strategies to explore how endeavor to understand the work from the point of monumental architecture and expressive narrative view of its creators and patrons, as well as its painting and sculpture were engaged in the changing reception by audiences throughout time. formation of a common European identity and To accomplish this, we will need to be able to uncover, as well, the architectural vestiges of understand some of the languages of art. The diverse groups and cultures that challenge that course, then, is also a course in visual literacy, the 8 Art History uniform vision. These are arts that chronicle deep Greeks’ western neighbors in Italy: the Etruscans and social struggles between classes, intense devotion Romans. In time, the Phoenicians and their western through pilgrimage, and the rise of cities and colony of Carthage and the western regions of the that could both advocate genocide and great Persian Empire would increasingly come to nurture enormous creativity, in styles both adopt many aspects of Greek material culture, art, flamboyant and austere, growing from places as and religion—even before the Asiatic conquests of diverse as rural monasteries to Gothic cathedrals. Alexander the Great and his successors. It was this The course will explore those aspects of expressive long and varied process that the Romans gradually visual language that link the buildings to social inherited and fused into a pan-Mediterranean Greco- history, the history of ideas, and political ideology. Roman Pax Romana, beginning with Augustus. The course will examine this process from the Modern and Contemporary Art: perspective of artistic monuments and literary or 1865 to the Present historical sources, as well. Kevin Lotery Open, Lecture—Year The Age of Arthur: Post-Roman This two-part, introductory lecture course tracks the Britain in History and Legend history of modernism in art from roughly 1865 to the David Castriota present, focusing on European and American Open, Seminar—Fall contexts. The first half of the oursec moves from The fate of the western Roman provinces during and Impressionism and Post-Impressionism to the advent after the collapse of the imperial center in the fifth of abstraction and the interwar avant-gardes (Dada, century remains a major concern for historians of Surrealism, Constructivism). The second half begins Late Antiquity, yet no single former Roman province with artistic responses to the traumas of World War has proven to be as obscure and resistant to serious II and ends with examinations of the postmodernist historical study as Britain. Through much of the 20th “critique of representation” and contemporary century, a substantial body of historical research artistic practices. Examining key works in detail will was devoted toward developing the figure of Arthur, help us unpack some of this history’s guiding a Post-Roman ruler or warlord who strove to concepts, including the following: 1) notions of the preserve something of Roman imperial order and avant-garde; 2) concepts of artistic subjectivity; 3) culture while stemming Germanic or Anglo-Saxon interactions among art, forms of scientific esearr ch, settlement. More recently, however, the tide of and methods of technological production; 4) artistic scholarship has turned against a historical Arthur. responses to war and historical trauma; and 5) The fact remains that Arthur is unattested in any interactions among art, popular culture, and mass historical sources of the late antique or early production. As we move forward, we will also reflect medieval periods. Nor is there much evidence that on the methods and theories of art history, Anglo-Saxon settlement was effectively shaped or meditating on the ways in which art historians contained by native Romano-British resistance. structure the procedure of looking at and Consequently, the course will examine the origins of historicizing images, objects, and exhibitions. Arthur as a figure of legend rather than history, and we will examine the factors that led to Arthur being The Greeks and their Neighbors: accorded historical status—first in the early medieval period and then in modern scholarship. At The Hellenization of the the same time, we will attempt to establish the basis Mediterranean From the Homeric for a genuine dynastic and political history of Britain Age to Augustus from the fifth ot the seventh centuries. David Castriota Open, Seminar—Fall A Paradox for Painters: European Although the Romans come to mind most Art of the 16th and 17th Centuries immediately as the people who absorbed and passed on the achievements of Greek civilization to the Joseph C. Forte Western world, the transmission of Greek culture to Open, Seminar—Fall Western posterity was a far more complex process In Annibale Carracci’s painting of St. Margaret—an involving various other peoples. Already during the Early Christian martyr—an altar is inscribed, early first millennium BC, Greek culture began to “Sursum Corda” (Lift Up Your Hearts). An exploration affect the neighboring peoples to the east, such as of the multiple meanings of this admonition, the Phrygians, Lydians, and Lycians, as well as the epigram, and emblem form the basis of this course. THE CURRICULUM 9

How is 17th-century art to achieve this lifting up? suggests? Is ornament a crime? What made figures Lifting up from what and to what? Are all the arts like the new woman and the androgynous aesthete and all the subjects of the visual arts supposed to so threatening? Readings include: Deborah serve this same purpose? Does this admonition Silverman, Art Nouveau in Fin-de-siècle ; Max pertain to aesthetic, social, and historical issues, as Nordau, Degeneration; Adolf Loos, Ornament and well as the theological and political? What about the Crime; Paul Gauguin, Noa Noa; Richard Wagner, The linguistic implications: Can an exalted language exist Artwork of the Future; , The side-by-side with a dynamic, naturalistic Interpretation of Dreams; and Carl Schorske, Fin-De- vernacular? The course will cover the art of 16th- Siècle Vienna: Politics and Culture. Permission of the century Italy as it frames the questions that instructor is required. painters, sculptors, and architects throughout Europe mediated in the following era, commonly The Politics of Aesthetics From called the Age of the Baroque. Included will be studies of major artists such as Caravaggio, Bernini, David to Impressionism Rubens, and , among others. Maika Pollack Open, Seminar—Spring This seminar will look at European art produced More or Less: Architectural Theory between 1789 and 1889, between the From Modern to Contemporary transformations of the French Revolution and the Joseph C. Forte rise of Impressionism. We will focus primarily on Open, Seminar—Fall painting, with forays into the history of photography Readings in this course will focus on major and glimpses into developments in printmaking and statements made by architects, critics, and sculpture. Topics include the development of the philosophers dealing with the built landscape from urban and artistic modernity, the role of women both 1900 to the present. Authors include Adolf Loos, Le in the atelier and in the public sphere, the Corbusier, Frank Lloyd Wright, Martin Heidegger, Jane construction of an imaginary orient, the rise of Jacobs, Peter Eisenman, Rem Koolhaas, and Bruce romantic individualism, and the notion of the avant- Sterling; readings will range from Ornament and garde. The course will include visits to the Frick, the Crime (1909) to Junkspace (2000) and beyond. Met, and the Museum of Modern Art. Students will Emphasis will be on close reading of texts, historical write about individual artworks, analyze texts and context for ideas, and buildings that are prescribed, artworks as they are situated within the politics of described, or proscribed by theory in practice. The their time, and craft researched papers making first assignment will deal with the generation of arguments about some aspect of 19th-century critical theory in a manifesto; the second will be European art. Readings include Winckelmann’s about pragmatic design practice; the last, green “Thoughts on the Imitation of Greek Art in Painting design. Class will be broken into firms that will and Sculpture”; Lynn Hunt’s Politics, Culture, and develop a response to a particular architectural Class in the French Revolution; selected letters and program and project: the sustainable design of a notes by Eugène Delacroix from his journey to North retrofitted cultural center and residential/ Africa in 1832; Griselda Pollock, "Modernity and the commercial area at Sarah Lawrence College. Spaces of Femininity”; and Paul Signac, From Eugène Delacroix to Neo-Impressionism. Depicting Decadence Maika Pollack The Long Front of Culture: Pop Art, Open, Seminar—Fall Architecture, Design, and Film In this seminar, we will examine fin-de-siècle Kevin Lotery reactions to the depiction of decadence in the Sophomore and above, Seminar—Fall painting, printmaking, music, and decorative arts of This seminar aims at recovering the cross- the era. Analyzing the debates of critics and artists disciplinary history of Pop aesthetics. Like the early in , Vienna, and London, we will write about the Pop thinkers in Britain, we will operate under newly emergent figures of the anarchist, the the assumption that all forms of making—from aesthete, la femme nouvelle, and the dandy and will painting and printmaking to exhibition, technological then craft researched arguments about cultural research, and film—represent equal partners in the anxieties underlying the psychological phenomena “long front” of the Pop project. In the process, we of synesthesia, ennui, and hysteria. We will ask: Is will pursue an international history of Pop aesthetic the dandy a subversive hero, as Charles Baudelaire production in parallel with the canonical, New York- 10 Asian Studies centric narrative. The seminar is structured by three Images of India: Text/Photo/Film (p. 12), Sandra broad themes: 1) Pop art’s relationship to the various Robinson Asian Studies nations in which it arose (in Europe, East Asia, and Landscapes in Translation: Cartographies, Visions, North and South America); 2) key concepts and and Interventions (p. 30), Charles Zerner technologies central to the Pop experiment; and 3) Environmental Studies the afterlife of Pop in art from the to the Understanding Property: Cultural and Environmental present. Major questions include the following: What Perspectives (p. 29), Charles Zerner strategies have Pop practitioners mobilized to Environmental Studies represent, integrate, or intervene in technologies of Black Box/White Cube: Moving Image Art In and Out image production and mass cultural distribution? In of the Cinema and Museum (p. 33), Kenneth what ways has Pop forwarded alternative models of White Film History culture, consumption, and subjectivity? And the Introduction to Film History, Part I (p. 31), Kenneth perennial question: To what extent is Pop a critical or White Film History affirmative project? Exhibition visits will supplement Introduction to Film History, Part II (p. 32), Kenneth in-class discussion. White Film History Paranoid Style in Cinema (p. 33), Kenneth White Film Exhibition as Form History The New Elements: Mathematics and the Kevin Lotery Arts (p. 79), Philip Ording Mathematics Sophomore and above, Seminar—Spring Art and Visual Perception (p. 113), Elizabeth Johnston This seminar examines the history of exhibition Psychology making as an artistic technique from the interwar Body and Soul: Drawing From Life (p. 146), Gary avant-gardes to the present. We track this most Burnley Visual and Studio Arts cross-disciplinary medium as it evolves from the Color (p. 145), Gary Burnley Visual and Studio Arts space of public debate, propaganda spectacle, and scientific demonstration to a technology of display and curation. Special attention will be paid to instances in which artists mobilized the exhibition ASIAN STUDIES form to construct new experiences of space by constructing utopian environments, staging spaces Asian studies is an interdisciplinary field grounded in of debate and agitation, or imagining new forms of current approaches to the varied regions of Asia. communication between and among objects, Seminars and lectures are offered on China, , images, and viewers. The following figures will be India, Bangladesh, , and Indonesia. Courses among those we examine in detail: El Lissitzky, explore Asian cultures, , histories, Marcel Duchamp, Frederick Kiesler, Charles and Ray societies, and religions. Visual and performing arts Eames, Richard , Marcel Broodthaers, Louise are included in the Asian studies curriculum. Faculty, Lawler, Group Material, , Mike Kelley, Fia trained in languages of their areas, draw on Backström, and Camille Henrot. Major questions extensive field xperience e in Asia. Their courses include the following: On what formal grounds can bridge , social sciences, and global we conceptualize exhibition design as an aesthetic studies. medium? What are the relationships between Students are encouraged to consider studying exhibition designs and other artistic techniques, in Asia during their junior year. The Office of such as photomontage, film, performance, International Programs assists students in locating installation, and Web-based art? What forms of appropriate opportunities. Recent Sarah Lawrence sociality and types of subjectivity are staged in College students have participated in programs of exhibition spaces? And finally, what is the study in China, India, and Japan. relationship between curating and the design of exhibitions? We will couple discussion with visits to exhibitions. First-Year Studies: Pilgrimage and Initiation Other courses of interest are listed below. Full Sandra Robinson descriptions of the courses may be found under the Open, FYS—Year appropriate disciplines. 1) Pilgrimage and initiation play a major role in the Hindu, Buddhist, and Sufi Islamic traditions of South Hindu Iconography and Ritual (p. 12), Sandra Asia. This seminar introduces students to the Robinson Asian Studies cultures of India, Pakistan, Bangladesh, Nepal, and THE CURRICULUM 11

Sri Lanka through a comparative study of religious stereotypes about the passive Chinese woman and practices. In homes, temples, and shrines throughout the Confucian family, asking: Where do we find and this region, devotees perform elaborate rituals of how do we understand women’s agency within the initiation. These often occur at moments of life- permutations of the traditional Chinese family? We cycle transition. Calendar-based sacraments also will interrogate Imperial-era family conflicts and the occur on the major holidays of each religion. When practice of footbinding to highlight female agency devotees celebrate these ceremonies, they are within, and complicity with, the gender hierarchy. "performing" important cultural values. 2) Globally, The appearance of feminism in the early 20th pilgrimage festivals can be seen as codes for century and its subsequent fate will provide a interpreting cultures. Meaningful journeys reflect window on how gender shaped revolution and how the structure of initiation rites in that one is gender was, in turn, shaped by it. And rather than transformed by the experience. 3) Pilgrim fairs and leave masculinity as an assumed constant, we will festivals serve multiple functions. They provide examine historical and cultural constructions of venues not only for religious expression but also for what it meant to be a man in China. Located between arts performance, social negotiation, and economic the poles of the scholar and the warrior, Chinese exchange. 4) This seminar explores questions such manliness exhibits unfamiliar contours and traits. as: Are pilgrimage and tourism functionally The course also covers same-sex desire in both indistinguishable? What role, if any, do travelers’ traditional and modern China. For example, in the intentions play in such an analysis? Is a spiritually Late Imperial era, we will look at homoeroticism inscribed journey qualitatively different from among fashionable elite men and at female tourism with recreational, cultural, or service “marriage resisters” who dared to form all-women agendas? How does the transitional process of a communities in a society where marriage was journey relate to the experience of arrival at a virtually universal. Class readings consist primarily destination? What do pilgrimage and initiation of historical scholarship; however, (translated) sometimes have in common with the experience of primary sources pepper the course and include ritual immigration? 5) Using travel memoirs, we explore prescriptions, (auto)biographies, essays, drama, and themes of quest, discovery, and personal fiction that ground our inquiries in the authenticity transformation. Postcolonial writings on spiritually of Chinese voices. Due to its reading load, this inscribed journeys raise issues of dislocation, exile, seminar is listed as “intermediate” but requires no memory, and identity. We inquire critically into prior knowledge of Chinese history. Open to traditional mappings of “sacred geographies” and sophomores and above. (First-year students may the commercial promotion of competing register with permission of the instructor.) destinations. 6) Sources: Within travel industries, we analyze the specialists who service many spectacles Taoist Philosophy and the Arts and attractions found along pilgrimage routes. Films and photographic sources are used extensively. Ellen Neskar Readings are drawn from cultural studies, history of Sophomore and above, Seminar—Year religions, anthropology, and personal narratives. This seminar centers on foundational texts in the classical Taoist tradition and their unfolding in later religious and artistic movements. The goal of this Gender and History in China: course is twofold: to understand the texts as they Beyond Eunuchs and Concubines were written between the fifth and third centuries Kevin Landdeck BCE and to examine the ways in which they were Sophomore and above, Seminar—Year interpreted and reinterpreted in later religious This seminar is a sustained historical exploration of traditions and applied in poetry and painting. The gender in the Chinese context, which is not only first semester will focus on a close and detailed significant in its own right but also serves to reading of the Daodejing (Tao-te-ching), Zhuangzi, complicate some of the common Euro-American and Liezi as a way of examining their core assumptions about family dynamics, emotional life, philosophical concepts. Questions we will ask and gender hierarchies. We will treat female and include: What is being? What is knowledge? What is male as historically constructed categories, the Tao, and how might individuals attain it? What is examining how both have been tied to modes of the ideal relationship of the individual to society, power (familial, social, economic, and political); in nature, and the cosmos? Second semester, we will other words, how men and women have been explore the influence of these texts on later religious imagined and portrayed, made and mobilized, at and artistic traditions. Topics we will explore include different times. We will confront, head on, the relationship between religious practice and 12 Biology artistic expression, the creation of visual and literary the emblems held by multi-armed deities? In what art as an expression of the Tao, and the practice of ways does iconography narrate the history of Aryan being a reader/observer. Here we will examine and Dravidian interactions? Through a study of medieval and Late Imperial texts on Taoist religious painting, sculpture, popular lithographs, and multi- practice, poetry, painting, and aesthetics. In addition media sources, this seminar offers a window into the to these more theoretical works, we will study the social histories, cultural practices, and spiritual lives and works of some notable Taoist-influenced values of Indian civilization. poets and artists. Other courses of interest are listed below. Full Images of India: Text/Photo/Film descriptions of the courses may be found under the appropriate disciplines. Sandra Robinson Intermediate, Seminar—Fall The Geography of Contemporary China: A Political 1) This seminar addresses colonial and postcolonial Ecology of Reform, Global Integration, and Rise representations of India. For centuries, India has to Superpower (p. 47), Joshua Muldavin been imagined and imaged through encoded idioms Geography of orientalism. In recent decades, writers and visual Japanese I (p. 62), Sayuri I. Oyama Japanese artists from India, Pakistan, and Bangladesh have Japanese II (p. 63), Chieko Naka Japanese been actively engaged in reinterpreting the British Japanese III (p. 63), Izumi Funayama Japanese colonial impact on South Asia. Their work presents Global Masculinities (p. 66), John (Song Pae) Cho sensibilities of the colonized in counter-narration to Lesbian, Gay, Bisexual, and Transgender Studies images previously established during the Raj. Love, Sex, and Globalization (p. 65), John (Song Pae) Highlighting previously unexposed impressions, such Cho Lesbian, Gay, Bisexual, and Transgender works inevitably supplement, usually challenge, and Studies frequently undermine traditional accounts Queer New Media (p. 67), John (Song Pae) Cho underwritten by imperialist interests. 2) Colonial and Lesbian, Gay, Bisexual, and Transgender Studies orientalist discourses depicted peoples of the Indian Chan and Zen Buddhism (p. 116), T. Griffith Foulk subcontinent in terms of both degradation and a Religion romance of empire, thereby rationalizing various The Buddhist Tradition in East Asia (p. 116), T. Griffith economic, political, and psychological agendas. The Foulk Religion external invention and deployment of the term The Buddhist Tradition in India, Tibet, and Southeast “Indian” is emblematic of the epoch, with colonial Asia (p. 116), T. Griffith Foulk Religion designation presuming to reframe indigenous identity. 3) Postcolonial writers and artists, therefore, continue to renegotiate identities. What does it mean to be seen as an Indian? What BIOLOGY historical claims are implicit in allegories of language, ethnicity, and nation? How do such claims Biology is the study of life in its broadest sense, inform events taking place today, given the ranging from topics such as the role of trees in resurgence of religious fundamentalisms? This affecting global atmospheric carbon dioxide down to seminar on the semiotics and politics of culture is the molecular mechanisms that switch genes on and based on works by influential South Asian writers, off in human brain cells. Biology includes a photographers, and filmmakers. tremendous variety of disciplines: molecular biology, immunology, histology, anatomy, physiology, Hindu Iconography and Ritual developmental biology, behavior, evolution, ecology, Sandra Robinson and many others. Because Sarah Lawrence College Intermediate, Seminar—Spring faculty members are broadly trained and frequently This seminar focuses on the visual cultures of India teach across the traditional disciplinary boundaries, and Nepal. Hindu traditions encompass a students gain an integrated knowledge of living dramatically diverse range of beliefs and practices. things—a view of the forest as well as the trees. Iconography provides a pathway toward decoding In order to provide a broad introduction and that diversity. How are the proverbial 330,000 gods foundation in the field of biology, a number of and goddesses understood to be manifestations of a courses appear under the designation General common unity? How does the Hindu pantheon Biology Series. Each of these open-level, semester- encode gender with respect to status, functions, and long courses have an accompanying lab component. roles? Where are caste hierarchies reflected among Students may enroll in any number of the General THE CURRICULUM 13

Biology Series courses during their time at Sarah semester, we will discuss the individuals responsible Lawrence and in any order, although it is strongly for major discoveries, as well as the experimental recommended that students begin with General techniques and process by which such advances in Biology Series: Genes, Cells, and Evolution in the fall biological understanding are made. Classes will be semester. Completion of any two General Biology supplemented with weekly laboratory work. Series courses fulfills the minimum biology curriculum requirements for medical school Genetics admission. These courses typically meet the prerequisite needs for further intermediate- and Anthony Esposito advanced-level study in biology, as well. Open, Seminar—Fall At the biological core of all life on Earth is the gene. First-Year Studies: Urban Ecology The unique combination of genes in each individual ultimately forms the basis for that person’s physical Michelle Hersh appearance, metabolic capacity, thought processes, Open, FYS—Year and behavior. Therefore, in order to understand how Ecology is a scientific discipline that studies life develops and functions, it is critical to interactions between living organisms and their understand what genes are, how they work, and how environments, as well as processes governing how they are passed on from parents to offspring. In this species are distributed, how they interact, and how course, we will begin by investigating the theories of nutrients and energy cycle through ecosystems. inheritance first put orthf by Mendel and then Although we may think of these processes occurring progress to our current concepts of how genes are in “natural” areas with little to no human transmitted through individuals, families, and whole development, all of these processes still take place populations. We will also examine chromosome in environments heavily modified yb humans, such structure, the molecular functions of genes and DNA, as cities. This course will cover fundamental and how mutations in DNA can lead to physical concepts in the discipline of ecology and then abnormalities and diseases such as Down and Turner further explore how these patterns and processes syndromes or hemophilia. Finally, we will discuss the are altered (sometimes dramatically) in urban role of genetics in influencing omplec x phenotypes environments. We will use examples from our local such as behavior and intelligence. Classes will be environment—the New York City Metropolitan supplemented with weekly laboratory work. Area—to understand ecological concepts in light of urbanization. The fall semester will include a weekly outdoor lab session at local parks and field stations. Forensic Biology Special attention will be paid to the ecology of the Drew E. Cressman Hudson River, including field trips and orkw involving Open, Seminar—Spring the Sarah Lawrence Center for the Urban River at From hit television shows such as CSI, Bones, Dexter, Beczak. and Forensic Files, to newspaper headlines that breathlessly relate the discovery of a murder General Biology Series: Genes, victim’s remains, and to Casey Anthony, Amanda Knox, and other real-life courtroom cases, it is clear Cells, and Evolution that the world of forensic science has captured the Drew E. Cressman public's imagination. Forensic science describes the Open, Lecture—Fall application of scientific knowledge to legal problems Biology, the study of life on Earth, encompasses and encompasses an impressively wide variety of structures and forms ranging from the very minute subdisciplines and areas of expertise, ranging from to the very large. In order to grasp the complexities forensic anthropology to wildlife forensics. In this of life, we begin this study with the cellular and course, we will specifically focus on the realm of molecular forms and mechanisms that serve as the forensic biology—the generation and use of legally foundation for all living organisms. The initial part of relevant information gleaned from the field of the semester will introduce the fundamental biology. In an effort to move beyond sensationalism molecules critical to the biochemistry of life and the way it is portrayed in the public media, we processes. From there, we branch out to investigate will explore the actual science and techniques that the major ideas, structures, and concepts central to form the basis of forensic biology and seek to the biology of cells, genetics, and the chromosomal understand the use and limitations of such basis of inheritance. Finally, we conclude the information in the legal sphere. Beginning with the semester by examining how these principles relate historical development of forensic biology, selected to the mechanisms of evolution. Throughout the topics will likely include death and stages of 14 Biology decomposition, determination of postmortem Global Change Biology intervals, the role of microorganisms in Michelle Hersh decomposition, vertebrate and invertebrate Open, Seminar—Spring scavenging, wound patterning, urban Climate change. Biodiversity loss. Nutrient pollution. mummification, biological material collection and Invasive species. Global ecosystems are being storage, victim and ancestral identification by altered in dramatic ways due to human activities. In genetic analysis, the use of DNA databases such as order to address these challenges, we first need ot CODIS, and the biological basis of other criminalistics understand them scientifically. This course will procedures, including fingerprinting and blood-type explore the impacts of global environmental change analysis. Finally, we will consider DNA privacy and through the lens of the biological sciences. Should Supreme Court rulings, including the v. King humans assist with tree migration so that slow- decision (2013) that established the right of law migrating plants can catch up to changing enforcement to take DNA samples from individuals temperature conditions? How are invasive predators arrested for a crime. In all of these areas, the like Burmese pythons in Florida affecting mammal techniques and concepts employed are derived from populations? How can the extensive use of fertilizers some of the most fundamental principles and upstream in a large river affect biological structure-function relationships that underlie the communities downstream? How has overfishing entire field of biology. No background in biology is altered marine biodiversity? How could urbanization required; indeed, a primary objective of this course is and habitat loss alter the risk of disease spillover to use our exploration within the framework of from wildlife to humans? We will use scientific forensic biology as a means to develop a broader and journal articles and other primary sources to address more thorough understanding of the science of these kinds of questions and more in this seminar biology. course.

General Biology Series: Anatomy General Biology Series: and Physiology Photosynthetic Life Beth Ann Ditkoff Kenneth G. Karol Open, Seminar—Spring Open, Seminar—Spring Anatomy is the branch of science that explores the Billions of years of oxygenic photosynthesis has bodily structure of living organisms, while physiology altered the Earth's atmosphere and modified its is the study of the normal functions of these landscape. From single-celled cyanobacteria to organisms. In this course, we will transition to the towering redwoods, photosynthesis produces the exploration of the human body in both health and fuel that powers the food webs upon which all life disease. Focus will be placed on the major body units depends. Rubisco, a key enzyme in photosynthesis, such as skin, skeletal/muscular, nervous, endocrine, has been identified as the single most-abundant cardiovascular, respiratory, digestive, urinary, and protein on Earth. In this course, students will develop reproductive systems. By emphasizing concepts an understanding of the origin and diversity of rather than the memorization of facts, we will make photosynthetic life, including cyanobacteria, marine associations between anatomical structures and and freshwater algae, and land plants. Concepts will their functions. The course will take a clinical be placed in an evolutionary framework that approach to anatomy and physiology, with examples demonstrates the interconnected history of life. drawn from medical disciplines such as radiology, Seminars will be supplemented by lab sections, in pathology, and surgery. In addition, a separate which students will be exposed to the diversity of weekly laboratory component will reinforce key photosynthetic organisms and will learn to identify topics. Assessment will include weekly quizzes and a representative species and key morphological final onfc erence paper at the conclusion of the features and adaptations. course. The topic for the paper will be chosen by each student to emphasize the relevance of anatomy/physiology to our understanding of the Disease Ecology human body. This course is intended to follow General Michelle Hersh Biology Series: Genes, Cells, and Evolution and Intermediate, Seminar—Fall emphasizes anatomical and physiological aspects of This course explores infectious diseases—disease life. caused by bacteria, viruses, fungi, and other parasites—through the lens of ecology. Thinking like a disease ecologist means asking questions about THE CURRICULUM 15 disease at different scales. Rather than just College may investigate these diverse areas of considering interactions between an individual host chemistry through a variety of courses: Atmospheric and a parasite, we will look at disease at the Chemistry, Environmental Chemistry, Nutrition, population, community, and ecosystem levels. A Photographic Chemistry, and Extraordinary disease ecologist may ask questions such as: How Chemistry of Everyday Life, to name a few. In does a disease make a jump from one species to addition to these courses, the College routinely another? Why are some environments so conducive offers General Chemistry, Organic Chemistry, and to disease transmission? How can we make better Biochemistry to provide a foundation in the theories predictions of where and when new diseases may central to this discipline. emerge and develop better management strategies Just as experimentation played a fundamental to combat them? A disease ecologist may even role in the formulation of the theories of chemistry, consider infected hosts as ecosystems, where it plays an integral part in learning them. Therefore, pathogens feed on hosts, compete with one another, laboratory experiments complement many of the and face off with the host’s immune system or its seminar courses. beneficial microbiome. Mathematical models of disease transmission and spread will be introduced. General Chemistry I We will consider examples from plant, wildlife, and Colin D. Abernethy human disease systems. Open, Lecture—Fall Chemistry is the study of the properties, Other courses of interest are listed below. Full composition, and transformation of matter. descriptions of the courses may be found under the Chemistry is central to the production of the appropriate disciplines. materials required for modern life; for example, the synthesis of pharmaceuticals to treat disease, the An Introduction to Statistical Methods and manufacture of fertilizers and pesticides required to Analysis (p. 78), Daniel King Mathematics feed an ever-growing population, and the Mathematical Modeling I: Multivariable development of efficient and environmentally benign Calculus (p. 80), Philip Ording Mathematics energy sources. This course provides an introduction Mathematical Modeling II: Differential Equations and to the fundamental concepts of modern chemistry. Linear Algebra (p. 80), Philip Ording We will begin by examining the structure and Mathematics properties of atoms, which are the building blocks of Art and Visual Perception (p. 113), Elizabeth Johnston the elements and the simplest substances in the Psychology material world around us. We will then explore how Challenges to Development: Child and Adolescent atoms of different elements can bond with each Psychopathology (p. 112), Jan Drucker other to form an infinite variety of more complex Psychology substances called compounds. This will lead us to an Body and Soul: Drawing From Life (p. 146), Gary investigation of several classes of chemical Burnley Visual and Studio Arts reactions, the processes by which substances are Eco Poetry (p. 154), Marie Howe Writing transformed into new materials with different physical properties. Along the way, we will learn how and why the three states of matter (solids, liquids, CHEMISTRY and gases) differ from one another and how energy may be either produced or consumed by chemical reactions. In weekly laboratory sessions, we will Chemistry seeks to understand our physical world on perform experiments to illustrate and test the an atomic level. This microscopic picture uses the theories presented in the lecture part of the course. elements of the periodic table as building blocks for These experiments will also serve to develop a vast array of molecules, ranging from water to practical skills in both synthetic and analytic DNA. But some of the most fascinating aspects of chemical techniques. chemistry involve chemical reactions, where molecules combine and transform—sometimes dramatically—to generate new molecules. General Chemistry II Chemistry explores many areas of our physical Colin D. Abernethy world, ranging from our bodies and the air that we Intermediate, Lecture—Spring breathe to the many products of the human This course is a continuation of General Chemistry I. endeavor and including art and a plethora of We will begin with a detailed study of both the consumer products. Students at Sarah Lawrence physical and chemical properties of solutions. This 16 Chemistry will enable us to consider the factors that affect importance of organic chemistry is the fact that very both the rates and the direction of chemical many of the chemical compounds that make modern reactions. We will then investigate the properties of life possible—such as pharmaceuticals, pesticides, acids and bases and the role that electricity plays in herbicides, plastics, pigments, and dyes—can be chemistry. The course will conclude with classed as organic. Organic chemistry, therefore, introductions to nuclear chemistry and organic impacts many other scientific subjects; and chemistry. Weekly laboratory sessions will allow us knowledge of organic chemistry is essential for a to demonstrate and test the theories described in detailed understanding of materials science, the lecture segment of the course. Prerequisite: environmental science, molecular biology, and General Chemistry I. medicine. This course gives an overview of the structures, physical properties, and reactivityof Organic Chemistry I: An Interactive organic compounds. We will see that organic compounds can be classified into families of similar Guided Inquiry Seminar Course compounds based upon certain groups of atoms that Colin D. Abernethy always behave in a similar manner no matter what Open, Seminar—Fall molecule they are in. These functional groups will Research has shown that students learn much more enable us to rationalize the vast number of reactions effectively when they are actively engaged and when that organic re-agents undergo. Topics covered in ideas and concepts are developed by the students this course include: the types of bonding within themselves rather than simply being presented by a organic molecules; fundamental concepts of organic professor or read in a textbook. This course is reaction mechanisms (nucleophilic substitution, designed as a series of interactive Guided Inquiry elimination, and electrophilic addition); the exercises. During each seminar, you will be conformations and configurations of organic presented with data and important observations molecules; and the physical and chemical properties regarding the topic being studied. The class will of alkanes, halogenoalkanes, alkenes, alkynes and work in small groups to answer series of directed alcohols. In the laboratory section of the course, we questions designed to lead each student to the will develop the techniques and skills required to development of a target concept or idea. These synthesize, separate, purify, and identify organic classroom activities are designed to follow the compounds. Organic Chemistry is a key requirement scientific process as much as possible. You will be for pre-med students and is strongly encouraged for asked to make predictions based on the model that all others who are interested in the biological and has been developed by the class. Further data or physical sciences. In addition, the Guided Inquiry information will then be provided that can be used to exercises will sharpen your analytical skills and check your predictions. In this way, you will teach you how to think like a scientist. Your simultaneously learn course content and the experiences working as part of a team in this course keycritical thinking skills that constitute scientific will help you in future situations where the ability to thought and exploration. After each topic has been collaborate to solve problems is a critical measure of developed in class, you will be asked to read the success. relevant section of the textbook and then answer a series of problems to reinforce your understanding of the material. No prior knowledge of chemistry is Environmental Chemistry required. Students will be able to take this course Mali Yin and Organic Chemistry II (Guided Inquiry) in the Open, Seminar—Fall spring semester and then take General Chemistry or This course provides an introduction to basic other chemistry courses in subsequent years. You concepts of chemistry and their application to should consider taking this course if you enjoy highly current environmental issues. Topics include acid interactive seminars, working in small groups, and rain, ozone depletion, air pollution, global warming, figuring out problems yourself rather than simply and surface water and groundwater pollution. We listening to a professor while taking notes in class. will then consider how human activities—such as Organic chemistry is the study of chemical transportation, energy production, and chemical compounds whose molecules are based on a industries—influence the environment. framework of carbon atoms, typically in combination with hydrogen, oxygen, and nitrogen. Despite this rather limited set of elements, there are more organic compounds known than there are compounds that do not contain carbon. Adding to the THE CURRICULUM 17 Organic Chemistry I and amides), enols and enolates, and amines will be discussed. We will also investigate the methods by Mali Yin which large, complicated molecules can be Open, Seminar—Fall synthesized from simple starting materials. Modern This course is a systematic study of the chemistry of methods of organic structural determination—such carbon compounds. Introductory topics include as mass spectrometry, 1 H and 13 C nuclear magnetic bonding, structure, properties, reactions, resonance spectroscopy, and infrared nomenclature, stereochemistry, spectroscopy, and spectroscopy—will also be introduced. In the synthesis of organic compounds from a functional laboratory section of this course, we will continue to group approach. More advanced topics include develop the techniques and skills required to reaction mechanisms, chemistry of aromatic synthesize, separate, purify, and identify organic compounds, carbonyl compounds, and biomolecules compounds. Organic Chemistry II is a key such as carbohydrates and amino acids. In the requirement for pre-med students and is strongly laboratory, students learn the basic techniques used encouraged for all others who are interested in the in the synthesis, isolation, and identification of biological and physical sciences. Prerequisite: organic compounds. Prerequisite: General Chemistry Organic Chemistry I. or its equivalent.

Organic Chemistry II: An Biochemistry Interactive Guided Inquiry Mali Yin Advanced, Seminar—Spring Seminar Course Biochemistry is the chemistry of biological systems. Colin D. Abernethy This course will introduce students to the basic Intermediate, Seminar—Spring principles and concepts of biochemistry. Topics will This course is a continuation of Organic Chemistry I include the structure and function of biomolecules (Guided Inquiry). This semester, we will explore the such as amino acids, proteins, enzymes, nucleic physical and chemical properties of additional acids, RNA, DNA, and bioenergetics. This knowledge families of organic molecules. The reactivity of will then be used to study the pathways of aromatic compounds, aldehydes and ketones, metabolism. Prerequisite: Organic Chemistry and carboxylic acids and their derivatives (acid General Biology. chlorides, acid anhydrides, esters, and amides), enols and enolates, and amines will be discussed. We Other courses of interest are listed below. Full will also investigate the methods by which large, descriptions of the courses may be found under the complicated molecules can be synthesized from appropriate disciplines. simple starting materials. Modern methods of organic structural determination—such as mass An Introduction to Statistical Methods and spectrometry, 1 H and 13 C nuclear magnetic Analysis (p. 78), Daniel King Mathematics resonance spectroscopy, and infrared Mathematical Modeling I: Multivariable spectroscopy—will also beintroduced. In the Calculus (p. 80), Philip Ording Mathematics laboratory section of this course, we will continue to Mathematical Modeling II: Differential Equations and develop the techniques and skills required to Linear Algebra (p. 80), Philip Ording synthesize, separate, purify, and identify organic Mathematics compounds. Organic Chemistry II is a key Color (p. 145), Gary Burnley Visual and Studio Arts requirement for pre-med students and is strongly encouraged for all others who are interested in the biological and physical sciences. Prerequisite: Organic Chemistry I. CHINESE

Organic Chemistry II The Chinese program includes beginning, intermediate, and advanced courses that teach Mali Yin students to speak, read, write, and comprehend Intermediate, Seminar—Spring standard Chinese (Mandarin). The first-year class In this course, we will explore the physical and focuses on oral proficiency and grammar structures chemical properties of additional families of organic and culminates in end-of-semester projects that molecules. The reactivity of aromatic compounds, draw on the students’ interests. Reading and writing aldehydes and ketones, carboxylic acids and their is emphasized in the second-year class, as students derivatives (acid chlorides, acid anhydrides, esters, 18 Classics are introduced to short stories, poetry, and film. Other courses of interest are listed below. Full Student work in class and conference is descriptions of the courses may be found under the supplemented by weekly meetings with the appropriate disciplines. language assistant and by the lunchtime Chinese Table. Extracurricular activities include visits to The Geography of Contemporary China: A Political museums and excursions to New York City’s various Ecology of Reform, Global Integration, and Rise Chinatown neighborhoods. to Superpower (p. 47), Joshua Muldavin Students of Chinese are strongly encouraged to Geography spend a semester or, ideally, a year abroad at one of Chinese Identity (p. 71), Leihua Weng Literature several programs, such as Global Alliance, Chan and Zen Buddhism (p. 116), T. Griffith Foulk , or Associated in China. Religion These programs offer a range of experiences at The Buddhist Tradition in East Asia (p. 116), T. Griffith different sites, including Beijing, Shanghai, Foulk Religion Hangzhou, and Xian. Students of Chinese language are encouraged to enhance their curriculum with courses in history, CLASSICS philosophy, and literature taught through the Asian Studies department, as well as through religion and geography. Classics course offerings at Sarah Lawrence College include Greek (Ancient) and Latin at the beginning, Beginning Chinese intermediate, and advanced levels, as well as literature courses in translation. Beginning language Leihua Weng students acquire the fundamentals of Greek Open, Seminar—Year (Ancient) or Latin in one year and begin reading This course is designed for students who have no or authentic texts. Intermediate and advanced students little knowledge of the Chinese language. We will refine their language skills while analyzing specific develop four language skills (speaking, listening, ancient authors, genres, or periods. reading, and writing) through lesson learning and Ancient Greek and Roman insights and interactive communications. By the end of the discoveries originated Western culture and continue academic year, we will be able to conduct daily to shape the modern world. Ancient artists and conversations and to read short passages on a writers still inspire the greatest artists and writers variety of topics at the level of “Intermediate Low.” of today. Greek and Roman ideas about politics, Chinese culture will be introduced and discussed in drama, history, and philosophy (to name just a few) the context of popular culture and modern art. broaden 21st-century perspectives and challenge 21st-century assumptions. Classical languages and Intermediate and Advanced literature encourage thoughtful, substantive Chinese: Conversations and participation in a global, multicultural conversation Readings and cultivate skills necessary for coping with both failure and success. Because it is multidisciplinary, Leihua Weng classical literature adapts easily to students’ Intermediate/Advanced, Seminar—Year interests and rewards interdisciplinary study. This course is intended for students who want to Classics courses contribute directly to the College’s move beyond Beginning Chinese toward Intermediate unique integration of the liberal arts and creative or Advanced Chinese in both speaking and reading. arts, as developing writers and artists fuel their own We will keep learning and reviewing grammar and creative energies by encountering the work of expanding vocabulary by covering materials in text ingenious and enduring predecessors. The study of and in multimedia. We will work toward the goal of the classics develops analytical reading and writing conducting relatively smooth conversations on skills and imaginative abilities that are crucial to culture, literature, history, and politics, as well as the individual growth and essential for citizens in any objective of reading literary text in modern Chinese. functioning society. Prerequisite: Successful completion of one year of Chinese. Courses offered in related disciplines this year are listed below. Full descriptions of the courses may be found under the appropriate disciplines.

Advanced Greek (p. 50), Samuel B. Seigle Greek (Ancient) THE CURRICULUM 19

Beginning Greek (p. 49), Emily Fairey Greek (Ancient) Individualism Reconsidered: Beyond Pride and Intermediate Greek (p. 50), Samuel B. Seigle Greek Shame (p. 111), Marvin Frankel Psychology (Ancient) Language Research Seminar (p. 112), Kim Ferguson Advanced Latin (p. 64), Emily Fairey Latin (Kim Johnson) Psychology Beginning Latin (p. 63), Samuel B. Seigle Latin Play in Developmental and Cultural Context (p. 113), Intermediate Latin (p. 63), Emily Fairey Latin Barbara Schecter Psychology The Greco-Roman World: Its Origins, Crises, Turning Psychological Illness, Neurodiversity, and Human Points, and Final Transformations (p. 71), Creativity: Perspectives From Clinical Samuel B. Seigle Literature Psychology and Neuroscience (p. 108), David Ancient Philosophy (Plato) (p. 95), Michael Davis Sivesind Psychology Philosophy The Empathic Attitude (p. 112), Marvin Frankel First-Year Studies: From Homer to Plato (p. 93), Psychology Abraham Anderson Philosophy The Synapse to Self: The Neuroscience of Self- Love, Friendship, and Philosophy (p. 94), Gwenda-lin Identity (p. 105), Adam Brown Psychology Grewal Philosophy Theories of Development (p. 111), Barbara Schecter Lucretius: On the Nature of Things (p. 93), Gwenda- Psychology lin Grewal Philosophy Trauma, Loss, and Resilience (p. 104), Adam Brown Readings in Christian Mysticism: Late Psychology Antiquity (p. 118), Cameron C. Afzal Religion Ways of Knowing Each Other: Psychotherapeutic Models and the Restoration of Freedom (p. 104), Marvin Frankel Psychology Who am I? Clinical Perspectives of Psychology of the COGNITIVE AND BRAIN SCIENCE Self (p. 103), David Sivesind Psychology

Classes from disciplines such as biology, computer science, mathematics, philosophy, and psychology comprise the classes available within this cross- COMPUTER SCIENCE disciplinary path. What is computer science? Ask 100 computer Courses offered in related disciplines this year are scientists, and you will likely receive 100 different listed below. Full descriptions of the courses may be answers. One possible, fairly succinct answer is that found under the appropriate disciplines. computer science is the study of algorithms: step- Genetics (p. 13), Anthony Esposito Biology by-step procedures for accomplishing tasks An Introduction to Statistical Methods and formalized into very precise, atomic (indivisible) Analysis (p. 78), Daniel King Mathematics instructions. An algorithm should allow a task to be Mathematical Modeling I: Multivariable accomplished by someone who—or something Calculus (p. 80), Philip Ording Mathematics that—does not even understand the task. In other Mathematical Modeling II: Differential Equations and words, it is a recipe for an automated solution to a Linear Algebra (p. 80), Philip Ording problem. Computers are tools for executing Mathematics algorithms. (Not that long ago, a “computer” Abnormal Psychology (p. 110), Adam Brown referred to a person who computed!) Psychology What are the basic building blocks of Advanced Research Seminar (p. 108), Kim Ferguson algorithms? How do we go about finding algorithmic (Kim Johnson) , Elizabeth Johnston , Linwood J. solutions to problems? What makes an efficient Lewis , Adam Brown Psychology algorithm in terms of the resources (time, memory, Art and Visual Perception (p. 113), Elizabeth Johnston energy) that it requires? What does the efficiency of Psychology algorithms say about major applications of computer Babies, Birds, and ’Bots: An Introduction to science, such as cryptology, databases, and artificial Developmental (p. 107), Kim intelligence? Computer science courses at Sarah Ferguson (Kim Johnson) Psychology Lawrence College are aimed at answering questions Experimental Psychology Research Seminar (p. 111), such as these. Sarah Lawrence computer science Adam Brown Psychology students also investigate how the discipline First-Year Studies: Health, Illness, and Medicine in a intersects other fields of study, including Multicultural Context: A Service-Learning mathematics, philosophy, biology, and physics. Course (p. 103), Linwood J. Lewis Psychology 20 Computer Science Introduction to Computer the distinction between hardware and software Programming blurs. We will study why this happens, as well as why hardware designers need to be concerned with the Michael Siff way software designers write programs and vice Open, Lecture—Fall versa. Along the way, we will learn how computers This lecture presents a rigorous introduction to work from higher-level programming computer science and the art of computer languages—such as Java, Python, and C—down to programming, using the elegant, eminently the basic zeroes and ones of machine code. Topics practical, yet easy-to-learn programming language include Boolean logic, circuit design, computer Python. We will learn the principles of problem arithmetic, assembly and machine languages, solving with a computer while gaining the memory hierarchies, and parallel processing. Special programming skills necessary for further study in attention will be given to the ARM family of the discipline. We will emphasize the power of instruction—set architectures—now the world's abstraction, the theory of algorithms, and the most common general-purpose microprocessors. benefits of clearly written, well-structured Time permitting, we will investigate the relationship programs. Fundamental topics include: how between energy consumption and the rise of computers represent and manipulate numbers, text, multicore and mobile architectures. Permission of and other data (such as images and sound); the instructor is required. Students should have at variables and symbolic abstraction; Boolean logic; least one semester of programming experience. conditional, iterative, and recursive computation; functional abstraction ("black boxes"); and standard data structures such as arrays, lists, and Data Structures and Algorithms dictionaries. We will learn introductory computer Michael Siff graphics and how to process simple user Intermediate, Seminar—Spring interactions via mouse and keyboard. We will also In this course, we will study a variety of data consider the role of randomness in otherwise structures and algorithms that are important for the deterministic computation, basic sorting and design of sophisticated computer programs, along searching algorithms, how programs can with techniques for managing program complexity. communicate across networks, and some principles Throughout the course, we will use Java, a strongly of game design. Toward the end of the semester, we typed, object-oriented programming language. will investigate somewhat larger programming Topics covered will include types and polymorphism, projects and so will discuss file processing, modules arrays, linked lists, stacks, queues, priority queues, and data abstraction, and object-oriented concepts heaps, dictionaries, balanced trees, and graphs, as such as classes, methods, and inheritance. As we well as several important algorithms for proceed, we will debate the relative merits of writing manipulating these structures. We will also study programs from scratch versus leveraging existing techniques for analyzing the efficiency of libraries of code. Discussion topics will also include algorithms. The central theme tying all of these the distinction between decidable and tractable topics together is the idea of abstraction and the problems, the relationship between programming related notions of information hiding and and artificial intellgence, the importance of encapsulation, which we will emphasize throughout algorithmic efficiency to computer security, and the course. Weekly lab sessions will reinforce the Moore's Law and its impact on the evolution on concepts covered in class through extensive, hands- programming languages and programming style. on practice at the computer. Permission of the Weekly hands-on laboratory sessions will reinforce instructor is required. Students should have at least the programming concepts covered in class. one semester of programming experience.

Computer Organization Other courses of interest are listed below. Full descriptions of the courses may be found under the Michael Siff appropriate disciplines. Intermediate, Seminar—Fall The focus of this course is on the selection and Abstract Algebra: Theory and Applications (p. 81), interconnection of components that make up a Daniel King Mathematics computer. There are two essential categories of Discrete Mathematics: A Bridge to Advanced components in modern computers: the hardware Mathematics (p. 80), Philip Ording (the physical medium of computation) and the Mathematics software (the instructions executed by the computer). As technology becomes more complex, THE CURRICULUM 21 Mathematical Modeling I: Multivariable First-Year Studies in Dance: The Calculus (p. 80), Philip Ording Mathematics Practice of Embodied Creative Mathematical Modeling II: Differential Equations and Linear Algebra (p. 80), Philip Ording Action Mathematics John Jasperse Open, FYS—Year A common myth about art and artists is that they have visions and then set out to realize those visions. DANCE Anyone who has made creative work knows that the reality of the creative process is quite different. The Sarah Lawrence College dance program presents Making art, in general, and dance, in particular, often undergraduate students with an inclusive starts with curiosity and nagging questions rather curriculum that exposes them to vital aspects of than visions that await realization. Art, like scholarly dance through physical, creative, and analytical research, doesn’t come with prewritten, how-to practices. Students are encouraged to study broadly, instructions. Rather, it is akin to a puzzle to be widen their definitions of dance and performance, solved. Solving that puzzle in dance requires bringing and engage in explorations of form and function. everything you’ve got to the table—your thoughts, Basic principles of functional anatomy are at action, emotions, and concentration, along with the heart of the program, which offers classes in rigorous analysis, courage, conviction, and some modern and postmodern contemporary styles, sweat. Like all students of dance at Sarah Lawrence, classical , yoga, Feldenkrais: Awareness First-Year Studies in Dance students will enroll in Through Movement®, and . multiple component classes practice, Composition, improvisation, contact improvisation, creative practice, and analytic studies in dance that Laban motif, dance history, music for dancers, dance together will make up their program. A specially and media, teaching conference, classical Indian designed seminar for first-year dance students dance, lighting design/stagecraft, and performance serves only as the core component of the First-Year projects with visiting artists round out the program. Studies in Dance. Additionally, First-Year Studies in Each student creates an individual program and Dance students typically also enroll in Dance History, meets with advisers to discuss overall objectives and Beginning Improvisation, and a selection of progress. A yearlong series of coordinated movement practice classes. (Please refer to the component courses, including a daily physical online course catalogue for the component class practice, constitute a Dance Third. In addition, all descriptions.) Students will be dancing in the studio students taking a Dance Third participate at least on a daily basis. The First-Year Studies in Dance once each semester in movement training sessions Seminar provides students with an additional weekly to address their individual needs with regard to forum to unite these studies in an introduction to the strength, flexibility, alignment, and coordination, as creative practice of a dance artist. We will expand well as to set short- and long-term training goals. analytical skills in both oral and written A variety of performing opportunities for communication, explore an introduction to dance- undergraduate and graduate students are available making that will culminate in creating and in both informal and formal settings. Although performing our own short performance works, and projects with guest choreographers are frequent, it explore how academic research is both a is the students’ own creative work that is the center complement to and an integral part of creative of their dance experience at the College. In order to practice. We will consider and cultivate critical support the performance aspect of the program, all perspectives on dance as an art form through class students are expected to participate in the technical exercises, discussion, reading, writing, and oral aspects of producing concerts. presentations. We will build skills in each of those We encourage the interplay of theatre, music, areas throughout the year. In sum, these visual arts, and dance. Music Thirds and Theatre components are designed to encourage individual Thirds may take dance components with the investigation and the development of a practice of permission of the appropriate faculty. creative investigation in dance. This First-Year In the interest of protecting the well-being of Studies course is open to anyone who is interested in our students, the dance program reserves the right, exploring dance in all its facets, from students new at our discretion, to require any student to be to dance to students with significant prior evaluated by Health Services. experience in dance. Prospective and admitted students are welcome to observe classes. 22 Dance Dance Movement Fundamentals the experiential anatomy of the somatic research of Body-Mind Centering®, Contact Improvisation, and Peggy Gould, Merceditas Mañago-Alexander structures and scores for improvising and composing Component—Year . We will make the invisible visible, learning Movement and dancing are definitive signs of life! In more about the interior of the body and our ideas, every environment and at every level of existence, and explore pathways to space, time, and place as from single-cell organisms to entire populations, we also learn basic anatomy and physiology to better dancing is innate to living beings. This class is open understand the mechanics of movement. to all interested participants, with no prior experience in dance required. The objective here is to awaken/reawaken students’ to African Diasporic Dance movement as an elemental mode of human Efeya Ifadayo M Sampson experience and learning. Students are introduced to Component—Year some basic principles of dancing, as well as to This yearlong course will use physical embodiment strategies for preparing for dancing. Building as a mode of learning about and understanding fundamental skills for a wide range of movement African diasporic cultures. In addition to physical studies, the focus is centered on learning movement practice, master classes led by artists and teachers and refining individual, partnered, and group regarded as masters in the field of African diasporic performance in a variety of patterns and styles. dance and music, along with supplementary study Basic anatomical information is used to facilitate an materials, will be used to explore the breadth, understanding of dynamic alignment and movement diversity, history, and technique of dances derivative potentials. Challenges in coordination, rhythm, of the Africa diaspora. Afro Haitian, West African, range, and dynamic quality are systematically Orisha dances (Lucumi, Afro Cuban), and social engaged, allowing students to gain strength, dance are some genres that will be explored. flexibility, endurance, balance, , and Participation in year-end showings will provide awareness in the dance setting. While the primary students with the opportunity to apply studies in a emphasis is placed on learning structured material, performative context. Students may enter this improvisation and composition are incorporated to yearlong course in the second semester only with support students’ growing engagement with dance permission of the instructor. as an art form. Students who have successfully completed this course will be prepared to enter Contemporary Practice I and/or Ballet I. Ballet Barbara Forbes, Merceditas Mañago-Alexander Component—Year Modern and Postmodern Practice Ballet students of all levels will be guided toward Jodi Melnick, Paul Singh, Dylan Crossman, Lacina creative and expressive freedom in their dancing, Coulibaly enhancing the qualities of ease, grace, musicality, Component—Year and symmetry that define this orm.f We will explore In these classes, emphasis will be on the continued alignment, with an emphasis on anatomical development of basic skills, energy use, strength, principles; we will cultivate awareness of how to and control relevant to the particular style of each enlist the appropriate neuromuscular effort for teacher. At all levels, attention will be given to efficient vmo ement; and we will coordinate all sharpening each student’s awareness of time and aspects of body, mind, and spirit, integrating them energy and to disciplining the body to move harmoniously. Students may enter this yearlong rhythmically, precisely, and in accordance with course in the second semester only with permission sound anatomical principles. Intermediate and of the teacher. advanced students will study more complex movement patterns, investigate somatic use, and concentrate on the demands of performance. Hip-Hop Matt Lopez Component—Fall Somatics, Improvisations, and the This class is an open-level class in hip-hop dance. Athletics of Intimacy Depending on the instructor, it may include elements Jenn Nugent, K.J. Holmes of breaking, popping, locking, etc. Class will begin Component—Year with a warm up, leading to a high-energy We will be exploring movement and dance through combination. While this class is intended for the research of improvisation and the influences of THE CURRICULUM 23 students with some previous dance experience, no awareness, and coordination will be addressed from prior experience in hip-hop or is a neuromuscular training approach based on the required. teachings and selected choreographies of Irene Dowd. In addition, students will be introduced to the Feldenkrais: Awareness Through Alexander Technique, which aims to refine and optimize function by eliminating excessive tension. Movement® This is accomplished through specific xe ercises and Barbara Forbes practices designed to increase awareness, Component—Fall implement conscious direction, and achieve gentle Moshe Feldenkrais believed that rigidity—physical, re-patterning of postural and movement habits. mental, or emotional—is contrary to the laws of life. Open to all students taking a Dance Third. His system of somatic education develops awareness, coordination, and flexibility as students are verbally guided through precisely structured Dance Practice Conference movement explorations. The lessons are done lying Peggy Gould, Sasha Welsh on the floor, sitting, or standing and gradually Component increase in range and complexity. Students practice Students taking Dance Thirds will meet with the bringing their full attention to their experience, self- instructor for this component course at least once generating the learning that will release habitual per semester to address individual dance training patterns and offer new options. Enhanced issues and questions and to identify short- and long- integration of the entire nervous system cultivates term goals. Guided by discussion, we will develop the capacity for spontaneous, effortless movement practical strategies to address issues and questions and powerful action in life. in the context of achieving goals by means of specific supplemental exercises that address strength, flexibility, kinesthetic awareness, Yoga coordination, and effective approaches to learning. Patti Bradshaw This course is designed to support and enhance Component—Year students’ work in dance classes, rehearsals, and This asana yoga class is designed with dancers and performances. theatre students’ interests in mind. Various categories of postures will be practiced with attention to alignment, breath awareness, strength, Beginning Improvisation and flexibility. Emphasis is placed on mindfulness Sara Rudner and presence. This approach allows the student to Component—Year gain tools for reducing stress and addressing other Merge your imagination and movement potential unsupportive habits to carry into other aspects of through dance improvisation. This invaluable their lives. The instructor has a background in dance creative mode offers students the opportunity to and theatre, in addition to various somatically-based recognize and develop sensations, ideas, and visions practices that she draws upon for designing the of dancing . Internal and external classes to meet the needs of the class members. Her perceptions will be honed while looking at class draws upon an alignment-oriented practice, as movement from many points of view—as an opposed to a vinyasa style of yoga. Additionally, this individual and in partnership with others. This class class introduces various awareness-building is an entry into the creative trajectory that later practices borrowed from other body-oriented leads to composition and dance making. approaches. Contact Improvisation Conditioning for Dancers Kathy Westwater Peggy Gould, Eleanor Hullihan Component Component—Year This course will examine the underlying principles of This course provides students with a weekly an improvisatory form predicated on two or more opportunity to explore and practice supplemental bodies coming into physical contact. Contact training strategies to support development of Improvisation, which emerged in the and ’70s specialized skills required in dancing. Building on out of the Judson Experimental Dance Theatre, work done once or twice per semester in the Dance combines aspects of social and theatrical dance, Practice Conferences, training issues such as bodywork, gymnastics, and martial arts. We will strength, endurance, flexibility, kinesthetic explore movement practices that enhance our 24 Dance sensory awareness, with an emphasis on action and Dance and Music Improvisation physical risk-taking. Contemporary partnering skills, Kathy Westwater, John A. Yannelli such as taking and giving weight and finding a Component—Spring common “center,” will provide a basis for further This class explores a variety of musical and dance exploration. We will explore locating the dance form styles and techniques, including , in varying contexts: from the round-robin to the jam, chance-based methods, conducting, and scoring. We from scores to , and from studio and will collaboratively innovate practices and build theatre to site-based environments. scores that extend our understanding of how the mediums of dance and music relate both to and with Composition one another. How the body makes sound and how Sara Rudner sound moves will serve as entry points for our Component—Year individual and group experimentation. Scores will be Movement and creativity are the birthrights of every explored with an eye toward their performing human being. This component will explore expressive potential. The ensemble is open to - and communicative movement possibilities by performers, dancers, performance artists, and introducing different strategies for making dances. actors. Music students must be able to demonstrate Problems posed run the gamut from conceptually- proficiency in their chosen instrument. All driven dance/theatre to structured movement instruments (acoustic and electric), voice, electronic improvisations. Learn to access and mold kinetic synthesizers, and laptop computers are welcome. vocabularies collaboratively or individually and to Permission of the instructors is required. incorporate music, sound, gesture, text, and objects in pursuit of a vision. Students will be asked to Dance in Frame create and perform studies, direct one another, and Rosane Chamecki, Andrea Lerner share and discuss ideas and solutions with peers. Component—Spring Students are not required to make finished products Dance in Frame is a course about “why and when” to but, rather, to involve themselves in the challenges convey a choreographic idea into a video. In our and joys of rigorous play. experience, the important questions are simple: When does one’s concept ask for the language of The Choreographic Idiom: Instinct video making? What are the tools available in video and Action in the Creative Process that would not only facilitate the work but also Julianna May demand that the work be made specifically for the Component—Year screen? To answer these questions, one needs to understand that neither the media nor dance is This class will Interrogate the role of narrative, personal testimonial, and formal risk-taking in an subjugated to the other. The same understanding of effort to upend previous compositional habits and dance must be extended to video and experimental mine an interior space for dance making. Through a film. During the ourse,c we will screen and analyze free associative languaging practice, elevated and works from early experimental films made in the action-based text work, and open improvisational 1920s to early video art works for the 1960s and, scoring, this is a rare opportunity to explore the finally, videos and installations of our micro-interactions/inspirations and agitations of contemporaries in order to illustrate different your work. Part of each day will be spent discussing approaches and guide the students’ own works. each student’s current relationship to his/her Throughout the semester, students will be given a creative process, as well as working inside a live series of hands-on assignments, both individually “choreographic fishbowl” and watching each other and in groups. The exercises are designed not only to work and giving direct feedback. This compression develop a familiarity with the camera—exploring concepts of framing, camera move, planes, and of a social and choreographic space allows the group to prioritize vulnerability and the unconscious as deconstruction of space/time—but also, and more vital and critical points of initiation into the creative importantly, to contemplate and witness the process. possibilities of creating informal pieces and investigating how video can transfigure and uniquely represent what is being observed. These exercises build toward the complexion of a larger video project, incorporating approaches introduced throughout the term and including the presentation THE CURRICULUM 25 or installation of each piece. The class welcomes Anatomy Seminar dancers, performers, video makers, photographers, Peggy Gould or anyone else interested in this process. Component—Fall This is an opportunity for advanced students who Dance Making have completed Anatomy I to pursue their studies in John Jasperse, Dean Moss, Beth Gill, John A. Yannelli, greater depth. In open consultation with the William Catanzaro instructor during class meetings, each student Component—Year engages in independent research, developing one or In this class, graduates and upper-class more lines of inquiry that utilize functional anatomy undergraduates with a special interest and perspectives and texts as an organizing framework. experience in dance composition will design and Research topics in recent years have included direct individual choreographic projects. Students breathing, anatomy study in dance education, spine and faculty will meet weekly to view works-in- function, scoliosis, the use of verbal language in progress and, in conferences taking place the dance training, and anatomy of human reproductive following afternoon, discuss relevant artistic and and digestive systems. The class meets biweekly to practical problems. Music, costumes, lighting, and discuss progress and questions, with additional other elements will be discussed as integral and meetings on alternate weeks as an option for interdependent elements in the choreographic work. individuals or the group. This will culminate in performances of the works toward the end of the semester in the Winter Dance History Performance and Spring Performance programs. Kyle Bukhari Performances will take place in the Bessie Component—Year Schönberg Dance Theatre or elsewhere on campus in This course explores the history of Western the case of site-specific orkw . Prerequisites: Dance theatrical dance from the courts of Louis XIV to the Composition, Lighting Design and Stagecraft for present. The course offers an overview of key artistic Dance, and permission of the instructor. movements and traces the development of major forms and genres, considering them within their Anatomy in Action social, cultural, racial, and gendered contexts. Peggy Gould, Sasha Welsh Through class screenings, attendance of live Component—Year performances, and written assignments, students How is it possible for humans to move in the will learn methods of observation, analysis, multitude of ways that we do? Learn to develop your interpretation, and evaluation informed by a broad X-ray vision of human beings in motion through understanding of dance’s past and present and how functional anatomical study that combines it relates to their own research and practice. This movement practice, drawing, lecture, and problem course is for all students beginning the dance solving. In this course, movement is a powerful program. vehicle for experiencing in detail our profoundly adaptable musculoskeletal anatomy. Facilitating our Visiting Artists Lab study of the entire musculoskeletal system, we will Component—Year learn Irene Dowd’s Spirals™, a comprehensive warm- This course is an experimental laboratory that aims up/cool-down for dancing that coordinates all joints to expose students to a diverse set of current voices and muscles through their fullest range of motion. In and approaches to making. addition to movement practice, drawings will be part Each guest artist will lead a module of between of each week’s lecture. (Drawing materials will be three and seven class sessions. These mini- provided.) Insights and skills developed in this workshops will introduce students to that artist and course can provide tremendous inspiration in the his/her creative process. Guests will represent process of movement invention and composition. emergent, as well as established, practices. Students who wish to join this yearlong class in the second semester may do so only with the permission of the instructor. Making It Work Aaron Mattocks Component—Spring In this semester-long course for students completing their studies at the College, we will examine and 26 Dance hone the tools needed for propelling your creative options for those interested in an expanded practical work into the professional landscape. Taught from curriculum. SLC’s Campbell Sports Center offers an active artist/artist manager perspective, the opportunities for students to initiate and lead course will attempt to achieve fluency for all makers physical education classes; and SLC’s Office of by providing practical encounters with key areas of Community Partnerships can assist students in budgeting and finance, fundraising and grant pursuing teaching initiatives in surrounding writing, presenting and touring, and self-producing communities, including Yonkers, greater components (including marketing, press, audience Westchester, and other New York City Metropolitan development and engagement strategies, digital and areas. social interactions, and production administration). We will explore various dance and theatre financial Lighting Design and Stagecraft for models, from being an independent solo artist to starting your own ensemble. The class will be Dance participatory, asking each student to craft project Beverly Emmons, Kathy Kaufmann descriptions, grant narratives, and budgets for their Component—Year thesis projects or other works shown in the previous The art and practice of illuminating dance is the semester or first eary . We will develop and stage subject of this component. We will examine the mock applications and peer/panel reviews for real- theoretical and practical aspects of designing lights world funding opportunities, undertake group for dance. Emphasis will be on learning basic lighting budgeting for productions that occur in each skills and stagecraft. Students will create original department, and develop concurrent fundraising lighting designs for dance program performances. plans and crowdsourcing campaigns. The aim of this This class is a prerequisite for Dance Making. course is to provide a greater level of competitive preparedness for graduating theatre and dance Performance Project makers on the cusp of representing themselves and Tricia Brown Project, Diane Madden, Barbara Bray their work in their chosen field(s). Ketchum Component—Fall Contemporary Culture Critique A fall Trisha Brown project offers an opportunity to Kathy Westwater work in depth on body alignment and fundamentals Component—Year that are integral to exploring the detail and rigor of This class will be organized around regular visits to Trisha Brown's movement style. Classes will include contemporary dance performances in New York City a warm-up to integrate the breadth and full and the adjacent tristate area, supplemented by dimension of the body; movement will emphasize viewing contemporary dance and performance finding easeful and dynamic ways of moving. The works on video. Works will be analyzed and class will develop into learning phrases of movement discussed in class. The class will include written from Trisha Brown's repertory that encompass quick, critiques that aim to discuss the work within art/ qualitative shifts and complex points of initiation, dance historical and sociological contexts. Students culminating in a performance project of a repertory are required to attend performances, as well as class piece to be determined. Students will showcase their sessions. This class meets once a week. work with an end-of-semester performance.

Teaching Conference Performance Project Peggy Gould, Jenn Nugent Faculty TBA Component—Year Component—Spring In this practice-based course, students develop skills This class is an opportunity for students to work to bring their artistry into a teaching setting. with a professional guest artist on creating a new Readings, discussion, and short written pieces will choreographic work. The class will include a short support exploration of perspectives on teaching and warm-up, followed by rehearsals that lead toward a development of individual areas of interest. fully-produced performance of the work at the end Following current practices in the field orf bringing of the semester. together arts and education, we will study methods for artists to partner with educators and implement those methods in a weekly class for children enrolled in SLC’s acclaimed Early Childhood Center (ECC). In addition to our work with ECC, there are several THE CURRICULUM 27 Dance Meeting First-Year Studies: Introduction to Development Studies: The Political Ecology of Component—Year Development (p. 47), Joshua Muldavin This is a twice-monthly meeting of all Dance Thirds Geography (undergraduate and graduate students) in which we The Geography of Contemporary China: A Political gather for a variety of activities that enrich and Ecology of Reform, Global Integration, and Rise inform the dance curriculum. In addition to sharing to Superpower (p. 47), Joshua Muldavin department news and information, Dance Meeting Geography features master classes by guest artists from New Love, Sex, and Globalization (p. 65), John (Song Pae) York City and beyond, workshops with practitioners Cho Lesbian, Gay, Bisexual, and Transgender in dance-related health fields, panels and Studies presentations by SLC dance faculty and alumnae, and An Introduction to Statistical Methods and casting sessions for departmental concerts created Analysis (p. 78), Daniel King Mathematics by the Dance Making class. In 2016-17, guest artists African Politics (p. 100), Elke Zuern Politics included /Dance Historian and Critic Democracy and the Market (p. 101), Elke Zuern in Conversation With John Jasperse; Jumatatu M. Politics Poe/BIG BODY: J-Sette Performance Workshop; Amandla! Power, Prejudice, Privilege, and South Rebecca Dietzel/Self-Care for Dancers; Sita African Human Development Under and After Frederick/Salsa Translations; Allison Easter/ Apartheid (p. 105), Kim Ferguson (Kim Johnson) Choreographing the Voice; Ana Dimas/ Psychology Choreographing for Children; and Perspectives on Borders and Transnational Mobilities (p. 121), Curatorial Practice: A Panel Discussion with Laurie Parthiban Muniandy Sociology Berg, Jaamil Olawale Kosoko, and Allie Tepper, Cities of the Global South (p. 121), Parthiban moderated by Kathy Westwater. Muniandy Sociology

Other courses of interest are listed below. Full descriptions of the courses may be found under the appropriate disciplines. ECONOMICS The New Elements: Mathematics and the Arts (p. 79), Philip Ording Mathematics At Sarah Lawrence College, economics is not taught Body and Soul: Drawing From Life (p. 146), Gary as a set of techniques for working in a static field Burnley Visual and Studio Arts but, rather, as an evolving discipline. In the liberal arts tradition, Sarah Lawrence students approach the study of economics by addressing issues in historical, political, and cultural context. They DEVELOPMENT STUDIES analyze and evaluate multiple schools of thought as they relate to actual situations, exploring from an Classes from disciplines such as anthropology, economic perspective topics such as globalization, economics, environmental studies, geography, growth and social policy, inequality, , and history, politics, public policy, sociology, and writing the environment. Students who have focused on comprise the classes available within this cross- economics have gone on to become union organizers, disciplinary path. join the Peace Corps, intern with United Nations agencies, go to law school, and enter graduate Courses offered in related disciplines this year are programs in public policy and international listed below. Full descriptions of the courses may be development. found under the appropriate disciplines. First-Year Studies: 2016 Global Inequalities and Financial Crises: Legal Approaches to the International Economic Presidential Election in Context: System (p. 28), Jamee K. Moudud Economics Power, Inequality, and Public Introduction to Economic Theory and Policy (p. 28), Authority Kim Christensen Economics Jamee K. Moudud Understanding Property: Cultural and Environmental Open, FYS—Year Perspectives (p. 29), Charles Zerner The 2016 Presidential election result has far- Environmental Studies reaching implications for economic and social policies. Vowing to dismantle the legacy of the New 28 Economics Deal—or, as one prominent Administration member Global Inequalities and Financial put it, the “administrative state”—the policy Crises: Legal Approaches to the initiatives of the new administration have been cheered by some and opposed by others. While it is International Economic System too early to say what the future trajectory of this Jamee K. Moudud administration will be, in this course we will situate Open, Lecture—Year current policy initiatives in a theoretical and The study of law is integral to the study of the historical context by drawing on insights from political economy. This fundamental premise is the different schools of thought in economics, as well as point of departure for this course. While their politics in other disciplines such as law, politics, sociology, were radically different, the British political and history. Some of the key questions to be economist Jeremy Bentham and historian E.P. addressed are: Is economics a monolithic subject, or Thompson both emphasized the centrality of law in are there rival schools of thought within the society. Bentham stated, “Property and law are born discipline with different methodological, theoretical, together and die together. Before laws were made, and policy/political implications? Why is the study of there was no property; take away laws, and property history a central methodological concern for many ceases.” (Bentham 1840, p. 139; cited from Singer economists, and why is it not so for others? Why do 2015, p. 15) While, on the basis of his historical work, people distinguish between “regulation” and laissez Thompson concluded: “For I found that law did not faire, and is this a false dichotomy? What is the keep politely to a ‘level’ but was at every bloody history of public policy in the United States and other level; it was imbricated within the mode of countries? How do we understand the role of production and productive relations themselves (as political power and the “rule of law” in regard to property-rights, definitions of agrarian practice)....” market outcomes? With inequality as one of the (Thompson 1978, p. 96) Using the study of the central themes of our current political climate, how subprime mortgage crisis of 2008 as its point of do we understand its causes and what is the link to departure, this course will discuss the relationship the history of taxation policies in the United States? between law and money (which is, after all, a form These will be some of the questions that we will be of property), along with the nature and legal tackling throughout the course of the year, thereby underpinnings of finance and financial crises. As a ensuring that students develop a solid foundation course in the subdiscipline of law and economics, for the fundamental debates in economic theory and this class will introduce students to mainstream and policy and understand the key role of methodology in critical approaches to both law and economics in the study of political economy phenomena. Finally, regard to money, finance, markets, and governance. the goal is to ensure that students develop the It will be demonstrated throughout this course that ability to critically engage scholarly work in core issues in law, such as those pertaining to economics. property and contracts, are deeply embedded in all economic phenomena, including monetary ones. In the first semester, we will start off yb discussing the Introduction to Economic Theory subprime mortgage crisis that erupted in 2008. and Policy Students will be introduced to both the nature of the Kim Christensen crisis and legal scholars’ analyses of it. This part of Open, Lecture—Year the course will show how legal/regulatory issues are Economics has a profound impact on all of our profoundly influenced by political and ideological lives—from where we live and go to school to what factors. In this context, we will study the money- we do for a living, how we dress, and how we markets-politics-power nexus and its relationship to entertain ourselves. Economics is also crucially ongoing debates regarding economic “regulation” intertwined with the social and political issues that versus “deregulation.” The bulk of the semester will we care about, from global warming to poverty and be devoted to conventional, as well as legal, analyses discrimination. This yearlong course introduces a of money with the key question being: Where does variety of approaches to economics—including money come from? This issue will be discussed at neoclassical, Keynesian, behavioralist, Marxian, and length by a study of the legal history of money in the feminist—and encourages students to apply these United Kingdom. In the spring, we will start the contrasting perspectives to current economic issues. semester by exploring the origins and nature of We conclude with an exploration of the causes and money in the context of precolonial and colonial consequences of the recent financial and economic Africa. The bulk of the semester will then deal with crisis. international finance, foreign trade, foreign debt, and governance. In the context of governance, we THE CURRICULUM 29 will study the ways in which dollarization and are encouraged to explore the interconnections contestation over taxation affect domestic monetary between disciplinary perspectives while developing arrangements; i.e., the stability of the legally areas of particular interest in greater depth. The established unit of account. These issues will be environmental studies program seeks to develop related to the question of national sovereignty—in students’ capacities for critical thought and particular, as this issue relates to global inequalities analysis, applying theory to specific xe amples from and unequal power relations in the way that they Asia, Africa, and the Americas and making have evolved historically. The course will end with comparisons across geographic regions and global inequalities in the modern world and how historical moments. financial crises destabilize economic and legal Courses include environmental justice and arrangements. This course is designed for students politics, environmental history and economics, policy with an interest in a historically informed analysis of and development, property and the commons, political economy and the law. environmental risk and the rhetoric of emerging threats, and cultural perspectives on nature, as well Other courses of interest are listed below. Full as courses in the natural sciences. descriptions of the courses may be found under the Environmental studies offers an annual, appropriate disciplines. thematically focused colloquium: Intersections: Boundary Work in Science and Environmental First-Year Studies: Introduction to Development Studies. This series brings advocates, scholars, Studies: The Political Ecology of writers, and filmmakers to the College, encouraging Development (p. 47), Joshua Muldavin conversations across the disciplines among Geography students, faculty, and guest speakers, as well as The Geography of Contemporary China: A Political access to new ideas and lively exchanges. Students Ecology of Reform, Global Integration, and Rise may participate in internships during the academic to Superpower (p. 47), Joshua Muldavin year or in rural and urban settings across the Geography country and throughout the world during the Love, Sex, and Globalization (p. 65), John (Song Pae) summer. Guest study at (Portland, Cho Lesbian, Gay, Bisexual, and Transgender Oregon), the Council on International Educational Studies Exchange (Portland, Maine), the semester in An Introduction to Statistical Methods and environmental science at the Marine Biological Analysis (p. 78), Daniel King Mathematics Laboratory (Woods Hole, ), or other Discrete Mathematics: A Bridge to Advanced programs are available to qualified Sarah Lawrence Mathematics (p. 80), Philip Ording students. Vibrant connections across the faculty Mathematics mean that students can craft distinctive Mathematical Modeling I: Multivariable competencies while building a broadly based Calculus (p. 80), Philip Ording Mathematics knowledge of environmental issues, problems, Mathematical Modeling II: Differential Equations and policies, and possibilities. Linear Algebra (p. 80), Philip Ording Mathematics Understanding Property: Cultural Both Public and Private: The Social Construction of and Environmental Perspectives Family Life (p. 122), Shahnaz Rouse Sociology Charles Zerner Open, Seminar—Fall Perhaps few issues are more contentious in the ENVIRONMENTAL STUDIES environmental arena than those surrounding struggles over rights to private, as well as common, property resources. What is property, and how is it Environmental studies at Sarah Lawrence College is made? Who makes property? How are property an engagement with human relationships to the rights performed, publicized, and enforced? What is environment through a variety of disciplines. Sarah a commons, and what is common property? Debates Lawrence’s environmental studies program, a over the “commons” implicate ideas of citizenship, critical component of a liberal-arts education, is an community, the public good, justice, and governance. intersection of knowledge-making and questions Controversies over public space and community about the environment that are based in the gardens, genetic recombinant research and rights to humanities, the arts, and the social and natural the genome, and North-South disputes over rights to sciences. Sarah Lawrence students seeking to biodiversity in the geographic South, as well as expand their knowledge of environmental studies 30 Ethnic and Diasporic Studies debates over property in the Middle East, form some Other courses of interest are listed below. Full of the hotly contested terrain of property rights and descriptions of the courses may be found under the the commons use and ownership. Property rights on appropriate disciplines. a variety of scales, from the biomolecular to whole organs and organisms, from individual trees to whole General Biology Series: Photosynthetic Life (p. 14), ecosystems, are examined in varied geographic, Kenneth G. Karol Biology biological, cultural, and historical contexts. This Environmental Chemistry (p. 16), Mali Yin Chemistry course is an introduction to ideas and cultures of First-Year Studies: Introduction to Development property (private, public, and collective); debates, Studies: The Political Ecology of claims, and arguments over the commons; and the Development (p. 47), Joshua Muldavin environmental and social consequences of different Geography property regimes. The Geography of Contemporary China: A Political Ecology of Reform, Global Integration, and Rise to Superpower (p. 47), Joshua Muldavin Landscapes in Geography Translation: Cartographies, Food Environments, Health, and Social Visions, and Interventions Justice (p. 106), Magdalena Ornstein-Sloan Psychology Charles Zerner Wherever You Go, There You Are: An Exploration of Intermediate, Seminar—Fall Environmental Psychology (p. 108), Magdalena This course investigates the multiple ways in which Ornstein-Sloan Psychology landscapes have been imagined, interpreted, Cities of the Global South (p. 121), Parthiban physically shaped, and controlled in a variety of Muniandy Sociology historical and contemporary sites. The first section, Cartographies, explores ideas of landscape in Euro- America, Southeast Asia, and colonial-era Africa. The literatures of critical geography and political ecology ETHNIC AND DIASPORIC STUDIES provide theory and cases illuminating connections between the position of the cartographer and presuppositions about the nature of the territory Ethnic and diasporic studies as an academic being mapped and managed. We examine how discipline lie at the intersection of several landscapes on a variety of scales, from “bioregions” increasingly powerful developments in American to nations, are imagined, codified, and transformed thought and culture. First, interdisciplinary and through representational processes and material comparative scholarship has become so prevalent as moves. The second section, Visions, investigates how to represent a dominant intellectual norm. Second, landscapes are embodied in fine arts and literature, the use of this new scholarly methodology to meet as well as in garden and urban design. Readings new academic needs and illuminate new subject draw on examples of landscape design in colonial matter has given rise to a plethora of New and Indonesia and on contemporary discourses—women’s studies; Native American examples of landscape design in response to climate studies; African ; gay, lesbian, and change. We also study reworkings of the urban transgender studies; and global studies. Third, and landscape to integrate more productive, biologically perhaps most important, there has been a growing diverse “fringes,” as well as rooftop farms and recognition, both inside and outside academia, that apiaries. The third section, Control: Emerging American reality is incorrigibly and irremediably Security-Scapes, investigates the rise of militarized plural and that responsible research and pedagogy “security-scapes” or “surveillance-scapes,” dating must account for and accommodate this fact. from slavery in the United States to the Department We define ethnic and diasporic of Homeland Security in the post-9/11 era. We studies—loosely—as the study of the dynamics of analyze the visual surround and landscapes seen by racial and ethnic groups (also loosely conceived) remote drone “pilots” scanning Los Angeles and who have been denied, at one time or another, the Somalia and surveillance of the occupied Palestinian full participation and the full benefits of citizenship landscapes; we draw upon websites, advertisements, in American society. We see these dynamics as and new scholarship in security studies, media fascinating in and among themselves but also feel studies, and social theory. Background in humanities, that studying them illuminates the entire spectrum social sciences or arts preferred. Advanced, open to of humanistic inquiry and that a fruitful cross- students with developed skills in critical thinking and fertilization will obtain between ethnic and diasporic analysis of texts. THE CURRICULUM 31 studies and the College’s well-established curricula FILM HISTORY in the humanities, the arts, the sciences, and the social sciences. Sarah Lawrence students approach film, first and Courses offered in related disciplines this year are foremost, as an art. The College’s film history listed below. Full descriptions of the courses may be courses take social, cultural, and historical contexts found under the appropriate disciplines. into account; but films themselves are the focus of study and discussion. Students seek artistic value First-Year Studies: Pilgrimage and Initiation (p. 10), equally in Hollywood films, art films,vant a -garde Sandra Robinson Asian Studies films, and documentaries, with emphasis on African Diasporic Dance (p. 22), Efeya Ifadayo M understanding the intentions of filmmakers and Sampson Dance appreciating their creativity. Diversity and Equity in Education: Issues of Gender, As a valuable part of a larger humanistic Race, and Class (p. 58), Nadeen M. Thomas education in the arts, the study of film often History includes exploration of connections to the other arts, Gender, Race, and Media: Historicizing Visual such as painting and literature. Close association Culture (p. 58), Rachelle Sussman Rumph with the filmmaking and visual arts departments History enables students working in these areas to apply Global Masculinities (p. 66), John (Song Pae) Cho their knowledge of film ot creative projects. And Lesbian, Gay, Bisexual, and Transgender Studies within the discipline, the study of film gives students Amandla! Power, Prejudice, Privilege, and South insight into stylistic techniques and how they shape African Human Development Under and After meaning. Advanced courses in specific national Apartheid (p. 105), Kim Ferguson (Kim Johnson) genres, forms, movements, and filmmakers—both Psychology Western and non-Western—provide a superb Crossing Borders and Boundaries: The Social background in the history of film and a basis orf Psychology of Immigration (p. 104), Gina sound critical judgment. Students benefit rf om New Philogene Psychology York City’s enormously rich film environment, in First-Year Studies: Health, Illness, and Medicine in a which film series, lectures, and festivals run on a Multicultural Context: A Service-Learning nearly continuous basis. Course (p. 103), Linwood J. Lewis Psychology The Empathic Attitude (p. 112), Marvin Frankel Introduction to Film History, Part I Psychology Kenneth White American Muslims: History, Politics, and Open, Lecture—Fall Culture (p. 117), Kristin Zahra Sands Religion This course provides an introduction to the study of First-Year Studies: Islam (p. 115), Kristin Zahra Sands film rf om its “prehistory” in phantasmagoria, magic Religion theatre, and chronophotography, through its Jewish Mysticism From Antiquity to the technological development and institutionalization Present (p. 117), Glenn Dynner Religion in the 19th century, to the diverse range of The Holocaust (p. 117), Glenn Dynner Religion production modes in the mid-20th century. Lectures The Jews in Europe (p. 115), Glenn Dynner Religion will explore key developments such as early cinema Borders and Transnational Mobilities (p. 121), and the cinema of attractions, documentary and Parthiban Muniandy Sociology ethnographic cinema, the Hollywood studio system Cities of the Global South (p. 121), Parthiban and filmmaking, the historical avant-garde Muniandy Sociology such as German Expressionism, Soviet montage, Temporariness and Displacement: Refugees, Dada and Surrealism, early American avant-garde, Migrants, and Aliens (p. 123), Parthiban and . Students will acquire fundamental Muniandy Sociology skills in film analysis and interpretation. Weekly screenings will be complemented by lectures devoted to in-depth analyses of films and their historical contexts. Assignments will emphasize close reading and sociocultural inquiry. 32 Film History Introduction to Film History, Part II Cinema Kenneth White Michael Cramer Open, Lecture—Spring Open, Seminar—Fall This course provides an introduction to the study of This course will examine the so-called “New film and its history from the mid-20th century Hollywood Cinema”: the films and filmmakers who through contemporary digital technologies of reinvigorated the Hollywood studio system in the production and circulation. Lectures will explore key late 1960s, only to be displaced by the blockbuster developments such as , La Nouvelle and "high-concept" films that ollof wed. Films of the Vague, cinéma vérité and direct cinema, Third period will be examined within the context of Cinema, , , industrial and cultural history, with special attention postwar American avant-garde, New Hollywood and paid to the changing dynamics within the American the blockbuster, , video art, the essay film, film industry and ot the cultural shifts that these and multimedia environments. Students will acquire films both espondedr to and expressed. These issues fundamental skills in film and media analysis and will be approached through a study of the form and interpretation. Weekly screenings will be style of the films of the era, with attention to how complemented by lectures on in-depth analyses of they revise or respond to more classical Hollywood films and their historical contexts. Assignments will approaches, how they appropriate and repurpose emphasize close reading and sociocultural inquiry. techniques derived from European “art cinema,” and how they develop their own genres or “cycles.” Other Italian Cinema topics to be covered include youth and counterculture; changing representations of gender, Michael Cramer class, and race; the decline of long-standing forms Open, Seminar—Fall of self-censorship; and dramatic liberalization of From the big-budget silent epics of the 1910s to the attitudes towards depictions of sex and violence. stylish art films of the 1960s, Italian cinema has long Directors to be covered include , been a major player in world cinema. While it has on Terrence Malick, Francis Ford Coppola, Sam the one hand, particularly with the neorealist films Peckinpah, Elaine May, and Robert Altman. of the , had an enormous influence internationally, it has also consistently adhered to specifically “national” themes, directly engaging with Italian political and social issues. The course Michael Cramer will examine the relationship between these two Open, Seminar—Spring seemingly contradictory facets, inquiring as to how Upon its inception in the late 1800s, African Italian cinema has managed to balance worldwide Americans were almost entirely excluded from the popularity with decidedly local subject matter. We mainstream American film industry. By the 1910s, will watch films rf om throughout the history of however, several successful independent African Italian cinema, albeit with an emphasis on its years American film ompaniesc had been founded. This of greatest achievement and popularity from the course will examine how African American 1940s to the 1970s. Given the course’s concern with filmmakers and performers have used a range of Italian cinema’s close relationship to Italian politics strategies to work within, on the peripheries, or and society, course readings will include a outside of “Hollywood” ever since. While our substantial amount of historical background emphasis will be on films produced and directed by material, as well as analyses of Italy’s self- , we will also cover major African representation as a nation. Other topics to be American performers, particularly those who covered include the role of documentary in Italian achieved success in the white-dominated Hollywood cinema, the historical period piece, genre film industry, as well as Hollywood’s relationship to filmmaking, and the effects of television on the African American spectators. In addition to historical Italian film industry. Directors to be studied include studies and theoretical texts, course readings will Giovanni Pastrone, , Vittorio De include polemical debates about many of the films Sica, Luchino Visconti, , Michelangelo we are watching, written at the time of their original Antonioni, , Bernardo Bertolucci, release. Additional topics to be covered include the Lina Wertmüller, and Marco Bellocchio. politics of representation and counter- representation in film and other ormsf of media, filmmaking as political practice, queer and feminist approaches to theory and practice, and activism through television and new media. Directors to be THE CURRICULUM 33 studied include Oscar Micheaux, Spencer Williams, Black Box/White Cube: Moving Gordon Parks, Ivan Dixon, Charles Burnett, Haile Image Art In and Out of the Gerima, Julie Dash, Marlon Riggs, Spike Lee, Cheryl Dunye, Kasi Lemmons, and Barry Jenkins. Cinema and Museum Kenneth White Intermediate, Seminar—Fall Paranoid Style in Cinema This seminar presents a critical genealogy of Kenneth White expanded cinema, multimedia installations, and Open, Seminar—Spring media environments. We will examine the history, You’re so paranoid, you probably think this course is key practitioners and theorists, and contemporary about you! This seminar will investigate a “paranoid legacy of expanded cinema. Focus will be on debates style” in film, moving-image art, and media from on the “black box” of the cinema and the “white early cinema to contemporary media environments. cube” of the gallery and museum, the range of From the Greek para–nous, “beyond mind,” we will formulations of this distinction, and their politics. trace the term through diverse formulations of We will explore how the moving image provides a fantasies of systematized persecution. Following the binding premise among painting, sculpture, historian Richard J. Hofstadter’s term for a recurring architecture, dance, theatre, performance, and paranoia in American political discourse and its photography in the postwar period. The course will tendency toward psychic projections, we will ask: explore historical precedents in Dada and Surrealism, What are the effects of reading a “paranoid style” in interwar and postwar art-architecture and the history of film and media rf om our present multimedia design, Fluxus and neo-Dada, as well as historical conjuncture? The course will explore the in debates around medium-specificity, expanded manner in which cinema, television, and the Internet field ersusv expanded cinema, apparatus theory and are imagined as malevolent devices, as well as theories of spectatorship, ideology critique and modes of producing and distributing representations cultural revolutions, counterculture and rhetorics of of coordinated antagonism. Topics will include: expanded consciousness. Our investigation will government conspiracy, surveillance, corporate proceed to contemporary developments in collusion, terrorism, intimate partner violence, multiscreen projects, virtual reality, and augmented paramilitary organizations, globalization, reality and on critical discourses of the operational counterculture, the occult, racial and ethnic image, the poor image, and Big Data. Critical writings prejudice, cryptozoology and pseudoscience, from film history will be considered in coordination nativism and extraterrestrial invasion, the with writings from art history, visual and cultural imagination for disaster, and hoaxes. We will explore studies, and the history of science and technology. theories of recording and inscription, indexicality Featured filmmakers and artists include: Stan and medium-specificity through forensic evidence, VanDerBeek, Nam June Paik, Wolf Vostell, VALIE cultures of containment, disciplinary EXPORT, Andy Warhol, Carolee Schneemann, Michael societies to societies of control, queer theory, Snow, Malcolm Le Grice, Bruce Conner, Tony Oursler, postmodernism and discourses of and Douglas Gordon, John Akomfrah, The Otolith Group, evidence through recent debates on fake news and Harun Farocki, Omer Fast, and Hito Steyerl, among alternative facts. Film case studies will be selected many others. from popular and avant-garde cultures. Screenings will be complemented by readings in literature, political science, philosophy, media studies, history Cinema and the Digital Age of science and technology, journalism, and security Michael Cramer studies. This seminar will engage a wide array of Intermediate, Seminar—Spring filmmakers, artists, and writers—from Fritz Lang to In the past 25 years, many of the elements that Sanja Iveković to —who explore the defined cinema orf more than a century have begun imagination of paranoia. to disappear. Films are almost never distributed and projected on celluloid film but, rather, projected digitally off of hard drives. Many are no longer even shot on film but, rather, on digital video. Perhaps even more importantly, much of what we see onscreen, especially in big-budget blockbusters, has not been photographed at all but, rather, generated by computers, narrowing the distinction between photographed cinema and . Films have 34 Filmmaking and Moving Image Arts also become more readily available to spectators Cognizant that not every student will graduate than ever before through digital streaming services. to be a writer, director, producer, or game developer, Never before have so many people had access to so the program believes that—with the enduring power many films. All of these changes—spanning the and influence of cinema, television, the Web, and fields of production, distribution, and social media—students in all fields of study benefit exhibition—raise the question of whether we have, from media literacy and theory and an enduring as many scholars have asked, moved “beyond” understanding of the ways and means of media cinema as it existed for about a century into a development and production. The program explores a different, new medium. This course will investigate broad scope of media making, including narrative this question through a series of films and eadingsr fiction, documentary/nonfiction, xperimente al film, that approach it from a variety of different animation, cinematography, storyboarding, and directions. We will consider, for example, how film directing actors, as well as producing, screenwriting, aesthetics have changed, how new viewing writing for television, writing and producing for the environments change our experience as spectators, Web, writing for games, and game development. and whether the use of new technologies for film Interdisciplinary work across the liberal arts is production necessitates, as some theorists have encouraged, and formal and informal collaboration argued, the abandonment of many of classical film among the music, dance, theatre and other theory’s assumptions about film’s elationshipr to the disciplines continue to emerge and flourish. In a real. Screenings will include both mainstream creative alliance with the theatre program, FMIA has Hollywood films (Spielberg, Lucas, the Wachowskis, begun the third year of its interdisciplinary, team- Michael Mann) and art cinema that makes taught project in developing and producing Web prominent use of digital tools (Alexander Sokurov, series. Eric Rohmer, Jia Zhangke, Peter Greenaway). Course Our faculty and staff are all accomplished, readings will largely be theoretical texts on both film working filmmakers, screenwriters, and media and digital media, so students should have some artists. We have an exchange program in animation familiarity with film theory. with CalArts and study-abroad opportunities in film in Paris, Cuba, and at the world-famous FAMU film Other courses of interest are listed below. Full school in Prague. Our ever-expanding network of descriptions of the courses may be found under the alums working in the field help provide internship appropriate disciplines. opportunities, as well. Recent graduates routinely have their work Images of India: Text/Photo/Film (p. 12), Sandra represented at some of the world’s most prestigious Robinson Asian Studies film and media estivals,f and graduates who chose First-Year Studies: Fundamentals of Nonfiction to pursue advanced degrees are finding traction at Animation (p. 35), Robin Starbuck Filmmaking the top film schools in the United States and abroad. and Moving Image Arts Media Sketchbooks (p. 38), Robin Starbuck First-Year Studies: Respect for Filmmaking and Moving Image Arts Screen Acting—Performance and Intermediate Italian: Modern Prose (p. 61), Tristana Rorandelli Italian Film Modern German Literature and Film From 1871 to the Doug MacHugh Present (p. 70), Roland Dollinger Literature Open, FYS—Year This yearlong First-Year Studies course will focus on both the organic and technical aspects of the craft of camera performance. The student will learn how FILMMAKING AND MOVING to create three-dimensional characters constructed IMAGE ARTS with a deeply detailed, emotional inner life that is supported through analytical comprehension of text. Through specific xe ercises, students will learn to Sarah Lawrence College’s undergraduate filmmaking heighten and expand their awareness of the physical and moving image arts program (FMIA) offers a and emotional senses and how to read, decipher, and vibrant, dynamic, creative incubator to ignite the support emotional and physical subtext. During the imagination of the next generation of media makers. first semester, the primary focus will be The program seeks to help students navigate the performance work. Students will work on emotional intersection of art and technology, as they acquire substitution, conflict, obstacles, inner struggles, the tools and skills of the discipline and develop duplicity, and character journey. They will work on their critical and creative voices. THE CURRICULUM 35 published scenes, group exercises, and application of lighting, cameras, and the software AfterEffects, improvisation to expand the inner life and backstory Toon Boom Harmony, and Dragonframe. Prior of the character. Using scenes from both drawing experience is not necessary. contemporary and historical films, they will observe, write about, and discuss the political, historical, and Documentary Filmmaking: Truth, cultural evolution of contemporary directing and acting styles. The second semester will offer the Freedom, and Bearing Witness interested student the opportunity to learn, through Damani Baker hands-on application, the technical side, as well. Open, Seminar—Year Through workshops featuring editing, sound, Nonfiction is our search for the truth; it is an camera, and lighting, the student will explore the exploration in humanity—our beauty, complexities, various aspects of production. During the second and the often unimaginable. This class is designed semester, the students will apply these skills to for students who, through filmmaking, hope ot move rendering both written and original work in class. humanity one step closer to understanding who we They will be assigned production roles, whether are and how connected our life experiences may be. operating cameras or doing sound, lighting, or In this yearlong course, students produce one 15- to editing. Conference work will include the viewing, 30-minute documentary on the subject of their own analyzing, and discussion of classic and choosing. Students will develop treatments, pitch contemporary films and elatr ed texts and, in the their projects, create production schedules, and second semester, the completion of a finished, work in small teams to create their films. achE week, edited, and workshopped scene. students must demonstrate clear progress on their projects, including outlined shoot dates, updates on production needs, screening of unedited material, First-Year Studies: Fundamentals assembly cuts, rough cuts, and the eventual final of Nonfiction Animation delivery of their conference films. During class, ew Robin Starbuck will screen short- and long-form documentary films Open, FYS—Year from around the world, complemented by hands-on In this yearlong First-Year Studies beginning production techniques and experience. Although this production course, students learn the basic is an open class, students must be prepared to learn principles of animation, develop an understanding of camera operation, sound recording, and lighting with visual language, and attain skills in constructing diligence and professionalism. Each student will short nonfiction narratives. Using a mixture of direct his/her own project; however, the crew will be classical animation and 2D digital tools, students will made up of their peers, who will be trusted with complete practical exercises intended to familiarize delivering strong technical material. This course will themselves with basic animation skills and challenge students to think beyond the beautiful language. Animation will be treated as an approach gates of Sarah Lawrence and take on subjects and that embraces documentary and other nonfiction opportunities that are new spaces both emotionally media as an art practice. Screenings and discussions and physically. Nonfiction equirr es for will help develop the specialized thinking needed to storytelling and, ultimately, a passion for people. We understand the discipline. Practice in this course is hope to finish the eary with a lens on the world integrated with theory so that production is held that’s evolved to new heights of understanding and within the context of critical thinking about the compassion. possibilities for nonfiction storytelling. In the first semester, we will undertake a series of short Hand-Drawn Animation individual and group exercises in response to technical labs. Spring semester, each student will Scott Duce spend the majority of the term making a single Open, Seminar—Year nonfiction animated short on a subject of his or her This course focuses on the fundamentals of drawing choosing. With the recent explosion of interest in as they pertain to two-dimensional, hand-drawn production, this course offers animation. Students will gain an understanding of first-year students the chance to discover their own value, motion, and light logic and learn to establish unique style for the telling of real stories with form and structure utilizing concepts in perspective. animated images. Technical instruction includes The course will introduce students to traditional workshops in concept development, rotoscope techniques of hand-drawn, frame-by-frame drawing, cutout animation, miniature puppetry, animation, where movement is created through successive, sequential drawings. Students will learn 36 Filmmaking and Moving Image Arts about body mechanics and motion flow in the emotional inner life that is supported through development of animated characters through organic impulses and analytical comprehension of techniques that include walk cycles, turning of text. The student will learn to create characters forms, transformations, holds, and stretch, drawn from one’s own life experience, emotional weight, and resistance. Students will design and substitution, and the limitless possibility of the create pencil test projects using Dragon Frame and imagination. The work will require a concentrated Final Cut Pro software. Examples of attention and expansion of emotional perceptions. illustrating hand-drawn techniques will be screened The student will develop the ability to actively listen regularly. The course will conclude with a final and see and not to anticipate or expect. The scene project, for which students develop, conceptualize, work will be taken from published screenplays, both and produce a fully animated, hand-drawn short contemporary and historical. Period work will require film. Information and skills established in this class a richly detailed and historically accurate character can be used to improve basic drawing proficiency, study, paying attention to both the social and establish fundamentals for later digital animation historical demands and the language. The scenes production, create and enhance an animation will be memorized, rehearsed, further explored with portfolio, and/or develop tangible skills for improvisational exercises, and reviewed with producing graphic novels. monitor playback. The scenes will then be camera blocked and shot in a workshop atmosphere that Storyboarding for Film and concentrates on performance rather than production value. Students will learn how much Animation physicality is required for the master shot and for Scott Duce the two shot and how to harness the physical and Open, Seminar—Spring emotional focus for extreme close-up work. There is This course focuses on the art of storyboard the required movement aspect to this workshop, as construction as the preproduction stage for film and well. Each session will begin with physical and animation. Students will be introduced to storyboard emotional exercises that will allow the performers to strategies, exploring visual concepts such as shot move, to breathe, and to play. The student will be types, continuity, pacing, transitions, and offered the opportunity to step behind the camera sequencing. Both classical and experimental and observe what the DP sees in order to better techniques for creating storyboards will be covered. comprehend the framing of a shoot. They will learn Emphasis will be placed on the production of how to maintain and match continuity while using storyboard drawings, both by hand and digitally, to props and physical movement. Voice-over and ADR negotiate sequential image development and to skills will also be explored. In the spring semester, establish shot-by-shot progression, staging, frame the students will work on final scenes that will be composition, editing, and continuity. Instruction will either original or published. Those scenes will be concentrate primarily on drawing, from thumbnail costumed, with props and production value. sketches through final presentation storyboards and Conference work will be discussed with each student animatics. The final project for this class will be the individually. The course will include short writing production by each student of a full presentation assignments, weekly performance journals, short storyboard and a hi-res animatic in a combined reactions to the required texts, and perhaps writing visual, audio, and text presentation format. original monologues to be performed. This course of Knowledge of storyboards and animatics from this study is equally valuable to the emerging performer, class can be used later for idea development and director, and screenwriter seeking to understand the presentation of your project to collaborators, for alchemy of performance for the camera. pitching projects, for professional agencies, and—most importantly—for you, the maker. The Last Picture Show: Advanced Writer/Director’s Workshop Less is More: On-Camera Rona Naomi Mark Performance Advanced, Seminar—Year Doug MacHugh This workshop is geared toward the student who has Open, Seminar—Year taken several narrative filmmaking classes and This course will focus on both the natural and would like to work on a capstone project. In the first technical aspects of camera performance. The semester, we will develop ideas into screenplays and student will learn how to create living, breathing get them ready for production. Students may work characters constructed and crafted with an with outside producers but will be responsible for THE CURRICULUM 37 some preliminary breakdown work in the service of for just about anyone to create slick, high-resolution producing their films. Directing exercises will focus images for very little money. As films get easier ot on working with actors and creating sketches from produce, however, good films become harder to find. the student’s final orkw . Labs will be chosen by the So how does the nascent filmmaker distinguish his/ class members to develop certain technical skills her work from the crowd? With a great script, sure- that they may need to execute their projects. The footed direction, and a smart allocation of available class will include periodic film screenings to analyze resources. In this immersive filmmaking orkshop,w the work of other established directors. Students will students will be introduced to the great, self-reliant produce their projects early in the second semester, world of DIY filmmaking. antW a smoke machine? leaving the last portion of the term to edit and refine We’ll make one! Need a portable jib arm? We’ll make their films. eW will workshop rough and fine cuts of one! Students will undertake several DIY their films so that the students might finish their builds—such as fig rigs, snorricams, panel lights, films with a high degree of polish. Experience and and air-pump squibs—and then work those projects permission of the instructor are required. Though not into several shooting assignments. For conference, exclusive, preference will be given to third- and students will develop and shoot a vo er the fourth-year students. course of the semester. We will discuss scripts not only in terms of their story but also in terms of their Script to Screen scope and their producability. Our next step will be to previsualize the student’s conference film yb making Rona Naomi Mark shot lists, floor plans, and look books. Students will Open, Seminar—Fall then go out and shoot their films and bring back the This class will introduce students to all aspects of footage for editing. We’ll review basic filmmaking, rf om conceiving of a script through postproduction procedures and introduce software exhibition of the final orkw . The first semester will effects that can add polish to a project without focus on screenwriting, and the students will write adding cost. The goal of the course is to push the short scripts that they will then produce and direct student creatively without multiplying costs beyond in the second semester. Simultaneously, students what is necessary. With the school’s equipment and will learn to use the school’s filmmaking equipment other resources at your disposal, the only limitation and editing software and utilize those skills in a to you as a filmmaker is your imagination and series of short, targeted video exercises. These resourcefulness. A basic knowledge of screenwriting, exercises will not only familiarize the students with camera operation, and nonlinear editing is required. the gear at their disposal but also introduce them to concepts of visual storytelling (i.e., where to put the camera to tell the story). The second semester will Working With Light and Shadow focus on preproduction and previsualization of the Misael Sanchez student’s conference film. Students will learn how to Open, Seminar—Year craft shot lists, floor plans, look books, and other This introductory-level, yearlong course will present tools to help them organize their film shoots. students with the basics of cinematography and film Students will also practice directing actors and production. Students will explore cinematography as finding a method orf effective communication with an art of visual storytelling. The cinematographer their cast. They will also learn some basic production plays a critical role in shaping the light and management skills, such as breaking down scripts composition of an image and capturing that image for production and scheduling. After shooting their for the screen. Students will investigate the theory conference films, students will workshop their rough and practice of this unique visual language and its cuts in the classroom and fine-tune their edits in power as a narrative element in cinema. In addition preparation for the final class—THE SCREENING! to covering camera operation, students will explore composition, visual style, and the overall operation DIY: Do-It-Yourself Filmmaking: of lighting and grip equipment. In the first semester, students will work together on scenes that are No-Budget Solutions to “Getting It directed and produced in class and geared toward Done” the training of set etiquette, production language, Rona Naomi Mark and workflow. Work will include the re-creation of Intermediate, Seminar—Spring classic film scenes, with an emphasis on visual style. Has there ever been a better time to be a no-budget Students will discuss their work and give feedback filmmaker? Recent technological advancements in that will be incorporated into the next project. For camera and editing equipment have made it possible conference, students will be required to produce a 38 Filmmaking and Moving Image Arts second scene re-creation, incorporating elements semester. Students will develop, write, draw floor discussed throughout the term. The second plans, shoot, edit, and screen a final project by the semester will focus on developing and shooting end of the term. This is an intensive, hands-on original work written and directed for in-class workshop that immerses the student in all aspects production. Students will outline projects, draw floor of film production. By the end of the course, plans, edit, and screen the final project for the class. students should feel confident enough ot approach a This is an intensive, hands-on workshop that film production project with the experience to take immerses the student in all aspects of film on introductory and assistant positions, with the production. By the end of the course, students potential for growth. should feel confident ot approach a film production project with enough experience to take on Media Sketchbooks introductory positions, with the potential for growth. Robin Starbuck Open, Seminar—Fall Fundamentals of Camera and This one-semester production course is for Lighting adventurers, artists, and budding filmmakers Misael Sanchez interested in exploring the media of video for artistic Open, Seminar—Fall expression and social inquiry. The images and In this introductory-level production course, experiences developed through students will explore the art of cinematography by and video are as varied as the artists who make producing weekly exercises designed to create and them. There is, by definition, no ormulaf for this kind break down visual styles. Student will select and re- of work. Like paintings or poems, each film eflectsr create a scene from a motion-picture film, elevisiont the artist as much as the content driving the work. series, or music video. The goal of each class will be This course is designed to introduce the language of to work with available resources to replicate the experimental film and strategies for the use of selected scene to the smallest detail, focusing on video/film and audio design as an xpre essive tool. We composition, color, framing, camera movement, will investigate the idea of radical content and costume, and set design. Each student will come experimental form by establishing the normative prepared with key elements, including talent, props, models and procedures of cinema and video and and set design needs to set up, shoot, and break then exploring ways to challenge these conventions. down each assignment by the end of each session. Through a series of video and animation Throughout the semester, students will alternate assignments, the class will consider moving-image crew positions, allowing the opportunity to forms and styles that blur the boundaries between experience everything from directing and working and among narrative, documentary, and abstract with the camera to lighting and gripping. Conference filmmaking. Projects will be furthered by screenings, work will consist of an additional re-creation or readings, seminar discussions, and field trips. opicsT original scene produced outside of class. will include, but not be limited to, issues of identity, the performative body, border crossings, cultural equivocation and mannerisms, blemished Cinematography: Color, topographies, ritual and transformation. Labs are Composition, and Style designed to help students develop proficiency with Misael Sanchez film equipment and editing systems, including Intermediate, Seminar—Spring AfterEffects. This course will explore the roles associated with film production, focusing on cinematography and Advanced Projects in Writing for lighting for the screen. In addition to covering camera operation and basic lighting techniques, the Screen students will explore composition, color palettes, Frederick Michael Strype and application of a visual style to enhance the story. Advanced, Seminar—Year Coursework will revolve around scene re-creations. This class is for the serious, advanced screenwriter. Students will produce scenes in class on a weekly Consideration requires a writer’s statement about basis. Work will be discussed and notes incorporated the project(s) you wish to pursue, a list of courses into the next project. As part of conference work, taken and screenwriting experience, as well as a students will be required to produce a short project five-page screenwriting sample. The fall semester in addition to the work completed during class time, will be devoted to conceptualizing/ incorporating elements discussed throughout the reconceptualizing, developing/redeveloping, and THE CURRICULUM 39 structuring/restructuring your project, naturally selected texts and produced screenplays, write depending upon your starting point. By semester’s detailed script analyses, view films and clips, and, end, you will be expected to have your project ready naturally, write short narrative fiction screenplays. to type (there being a distinction in this course While students will be writing scenes and scripts between writing and typing—writing is all the work starting in the first class, they will also be done before typing up the first-draft pages). You will introduced to the concept of “talking their stories,” also be expected in the fall to complete a short as well, in order to explore character and plot while screenplay of five-to-15 pages that either is gaining a solid foundation in screen storytelling, representative of the longer piece that you aim to visual writing, and screenplay evolution. We will complete in the spring or can be the aim of your fall migrate from initial ideas through research semester: i.e., to have a production-ready draft of a techniques, character development, story short-form film piece to be initiated at the end of the generation, outlining, the rough draft, and rewrites. fall semester or early in the spring semester in Students will be immersed in the fundamentals of another production class. The spring will be devoted character, story, universe and setting, dramatic to completing a first draft and polishing the project action, tension, conflict, sequence structure, acts, developed in the fall. For those choosing to focus and style. In-class analysis of peer work within the exclusively on a short-form piece during the fall, the context of a safe and productive environment will spring will be dedicated to the development and help students have a critical eye and develop skills to writing of another short-form piece or the initiation apply to the troubleshooting of one’s own work. of a long-form project from the ground up. The Overall, the student builds a screenwriter’s toolkit to seminar, workshop, and conference structure will be use as various projects emerge in the future. The aim devoted to this overall process. The candidate’s of the class is for students to complete a series of writer’s statement, list of courses taken, and short-form screenplays and a final written project. In experience, as well as the five-page screenwriting conference, students may research and develop a sample, must be emailed in advance of any interview long-form screenplay or teleplay, develop a TV series to [email protected], at which point an concept and “bible,” initiate and develop a Web- interview will be scheduled between instructor and series concept, craft a series of short screenplays student. for production courses or independent production, rewrite a previously written script, adapt original BulletProof Screenwriting material from another form, and so forth. Research and screen storytelling skills developed through the Frederick Michael Strype course may be applied to other writing forms. Open, Seminar—Fall Pursuing the fundamentals of developing and writing narrative fiction, motion-picture screenplays, Screenwriting: Telling the Truth the course starts with a focus on the atomic element Through Fiction of a screenplay: the scene. We’ll explore the nature Frederick Michael Strype of writing screen stories for film, elevisiont (and its Intermediate, Seminar—Spring many iterations these days), and the Web. The The landscape for the screenwriter has dramatically approach views screenwriting as having less of a changed during the past several years, with new connection to literature and playwriting and more of opportunities to write producible short films, a connection to the oral tradition of storytelling. We YouTube® sketches, and Web series seen by millions will dissect the nature and construct of the of viewers, as well as long-form “films” or “movies” screenplay to reveal that the document—the initially conceived for, and destined for, the “silver script—is actually the manifestation of the process screen”—a screen that is seemingly changing in of “telling your film” (or movie, or Web series, or TV color, size, and setting on a daily basis. The disarray show, et al). In BulletProof Screenwriting, the of the current film industry has created confusion emerging screenwriter will be encouraged to think and opportunity. Nevertheless, the baseline of and approach the work as a director; because expectation in the contemporary narrative “film until someone else appears to take the reins (if it is form” still remains: It is the expression of a not the screenwriter), the writer is the director, character or characters progressing through a albeit (for now) on the page. Indeed, the course will structured journey or series thereof. Elemental to explore filmmaking rf om a director’s point of view, this process is having your audience believe your yet in the hands of a screenwriter. With the class characters, believe the universe that they inhabit, structured as a combination of seminar and and find “truth” in the screen story that you’ve workshop-style exchanges, students will read created. In life and in film, ew laugh, we cry, we 40 Filmmaking and Moving Image Arts cringe, we shield our eyes, and we stare in wonder Writing Moving Pictures when we see and feel the truth. It’s ironic that in our Ramin Serry quest to create dramatic fiction, ew must actually Open, Seminar—Year “tell the truth.” There is a writer’s saying, “A writer This yearlong course, for the beginning to must lie her way to the truth.” The audience engages intermediate screenwriter, is a rigorous yet intimate with material when they realize: I’ve been there. I setting in which to explore and immerse oneself in know that feeling. I know that person. I am that the screenwriting process. Students may work either person. This course supports the process of finding on short or feature-length screenplays or on an and expressing truth in fiction. Designed orf the original television pilot or Web series episode. They emerging contemporary screenwriter, the course will read peer work, with the entire process includes opportunities for those creating a new idea, supported by in-class analysis and critiques thereof. adapting original material into the screenplay form, Students are expected to contribute heavily to the rewriting a screenplay or Web to series, or finishing a class discussion. Fundamentals of character, story, screenplay-in-progress destined for whatever screen universe and setting, dramatic action, tension, or screens s/he aims to assail. A review of conflict, structure, and style will be explored. In screenwriting fundamentals during the first ewf conference, in addition to honing their class weeks, as well as a discussion of the state of each screenwriting project, students are also welcome to project, will be followed by an intense screenwriting craft a series of short screenplays for production workshop experience. Published screenplays, several courses or independent production, rewrite a useful texts, and clips of films and ebW series will previously written script, adapt original material form a body of examples to help concretize aspects from another form, and so forth. of the art and craft.

Explorations in Writing for the Writing for Television: From Spec Screen Script to Original TV Pilot Marygrace O’Shea Guinevere Turner Open, Seminar—Year Open, Seminar—Fall The fundamental skill of successful television Where does the writer begin? The giant step from writers is the ability to craft entertaining and brain to page/screen is one of the most challenging compelling stories for characters, worlds, and parts of the process. This course will examine situations that have been created by others. Though approaches to writing—asking not only how we find dozens of writers may work on a show over the our voice but also how we find our practice. How can course of its run, the “voice” of the show is unified we learn from Marcel Proust, who locked himself in a and singular. The best way to learn to write for room for 15 years to write Remembrance of Things television—and a mandatory component of your Past, or screenwriter John August, who says he portfolio for agents, managers, show runners, and needs to be working on several projects at once in producers—is to draft a sample episode of a pre- order to have his brain functioning at maximum existing show, known as a “spec script.” Developing, capacity and distinguishes among the scripts by pitching, writing, and rewriting stories hundreds of having a candle that smells like each story? The goal times—extremely quickly, in collaboration, and on for the semester is to start with nothing and tight deadlines—is what TV writers on staff do every experiment with sources of inspiration, ways of day, fitting each episode seamlessly into the series working, distinguishing between risk-taking in your as a whole in tone, concept, and execution. This work and identifying what just isn’t working. In workshop will introduce students to these class, we will use writing exercises and critical fundamental skills by taking them, step-by-step, analysis of that work as the engine of the through writing their own spec (sample) script for conversation. In conference, students can choose to an ongoing dramatic television series. The fall will develop a screenplay in whatever format they chose: take students through the spec-script process, from feature, short film, ebW series, TV series, etc. A premise lines through the outline/beat sheet to commitment to engaging with fellow students' work writing a complete draft of a full, one-hour teleplay and finding a critical voice that is productive within for a currently airing show. No original pilots will be the culture of the class is essential. pursued in the fall. In conference, students will work, in depth, through additional drafts of their script pages. In this class, there will be heavy TV viewing in the first third of the semester, as students “learn” the shows that are to be spec-ed in this class. In the THE CURRICULUM 41 spring, the class builds on fundamentals learned in Screenwriting Is Rewriting the fall, now with the focus on creating an original Jay Craven TV pilot. Students will hone concepts, develop Intermediate, Seminar—Spring characters, and generate beat sheets and pages to The course title—a ubiquitous adage in the world of create and write an original one-hour or half-hour screenwriting—says it all. Screenwriting IS show (no three-camera ). Focusing on rewriting. This course is for the screenwriter engineering story machines, we power characters specifically involved in the rewriting process. The and situations with enough conflict ot generate student is expected to have a previously completed episodes over many years. In conference, students short-form or long-form script, teleplay, original TV may wish to craft another spec script, begin to pilot episode, Web series writing, et al, which they develop characters and a series "bible" for their wish to take to the next level. Through a rigorous yet original show, or work on previously developed supportive workshop environment, the goal is to material. Prospective students are expected to have reconsider all aspects of what has been written with an extensive working knowledge across many genres the aim of a refined—if not polished—draft by of TV shows that have aired domestically during the semester’s end. Conference will be devoted to the past several decades. considerably demanding task of the rewriting process. That being said, conference may also Screenwriting Through the include the initiation of a future project from the Director’s Lens concept stage, developing and defining (or Jay Craven redefining) characters, building or restructuring an Open, Seminar—Fall outline, and so forth. While format, style, and This course will focus on the practice of structural strategies will be reviewed and honed in screenwriting from a director’s unique point of view. the course, the expectation is that the writer has Even if students never plan to direct, they are indeed screenwriting experience. writing a script to be directed. Therefore, it’s of significant value for a writer to be thinking like a Producing for Filmmakers, director, just as a director who never intends to act Screenwriters, and Directors benefits rf om taking acting classes. The fact is, until Heather Winters a director shows up, the writer has to fill those Open, Seminar—Year directorial shoes in the creation of the screenplay. Producers are credited on every film, TV show, and Effective screenwriting requires an understanding of media project. They are crucial—even seminal—to story structure and an ability to shape character, each and every production, no matter how big or theme, tone, and incident to dramatic effect. It is small. Yet, even as a pivotal position in the creative said that every film is made (at least) three and practical process of making a film, TV show, or times—through screenwriting, production, and digital project, the title “producer” is perhaps the postproduction. The screenwriting process is a safe least understood of all collaborators involved. What and open platform to imagine every detail of the is a producer? This course demystifies and answers unfolding vision for a film, as characters take on a this question, examining what a producer actually life of their own and as the story becomes what it is does in the creation of screen-based media and the meant to become. The class will include writing many hats one or a small army of producers may exercises, discussions of exemplary scripts wear at any given time. Students will explore the role circulated for study, screening discussions, and of the producer in the filmmaking, TV, and digital critiques of each other’s work. In conference, process from the moment of creative inspiration students may work on whatever interests them, through project delivery. In the fall semester, whether that involves short or feature-length film students will gain hands-on producing experience screenplays, TV pilots, Web series, or something through nuts-and-bolts production software unique. As the semester advances, conference work exercises, breaking down projects into production can naturally merge with the workshopping process, elements, script breakdown, crafting schedules and with regular revision of one’s writing for maximum budgets, logline, synopsis and treatment writing, impact. The expectation is that you will come to the script coverage, and final project presentation. In the class with a piece on which you wish to work. spring semester, students delve into the “show business” side of producing and explore the 21st- century producer’s role in the real world. Applying knowledge and skills from the fall semester, students will learn the fundamentals of TV pilot 42 Filmmaking and Moving Image Arts season, entertainment law, optioning material, creating pitch packages, and verbal pitching, music licensing, traditional and innovative financing students will learn what makes their particular models, daily industry trends, pitching, film project marketable, how to make their stories marketing and publicity, global film industry trends, resonate, and how to engage with and pitch to the the roles that lawyers/agents/managers/sales gatekeepers of the myriad platforms where agents play, and the relationships between and audiences seek stories on screen. Students should among producers, directors, and writers. This course have a completed project for which they wish to decodes the intersection of art and commerce as it develop a pitch. relates to the business and creative elements of producing. Course work includes written and verbal Introduction to 3D Animation assignments, in-class presentations, readings, screenings, assignments based on invited industry Carlo Diego guests, and in-class final presentations. Conference Open, Small seminar—Year work may include producing a film or media project In this yearlong class, students will be introduced to by a student in another SLC filmmaking production the theory and practice of 3D modeling and class, research based or in-depth case studies, and compositing for animation; 3D animation design and other producer-related work. Designed to provide architectural concepts will be explored in the lecture real-world producing guidance, the course offers room, on the computer, and in the studio. The filmmakers, screenwriters, and directors a window purpose of this class is to build the skills necessary into the importance of, and mechanics pertaining to, to leverage the use of a professional 3D program the producing discipline and a practical skill set for (Cinema 4D) in storytelling and animation projects. creating and seeking work in the filmmaking, TV, and Instructional topics include: primitive objects, digital content world after SLC. transformations, curve creation and manipulation, symmetries, surface creation and modification, rendering, frames, keyframes, hierarchical The Art and Craft of Development animation, morphing, expressions, rigging, projection and Pitching for Film and mapping, and compositing. Weekly assignments will Television provide students with the building blocks necessary Heather Winters to take their projects in individual directions. Cinema Intermediate, Seminar—Fall and Spring 4D is an industry-standard 3D design and animation The first step to getting any project made is having software package used in a wide range of projects, the goods: a screenplay—an original TV pilot, from motion graphics to full-length feature films. episodes of a Web series, a short film, a documentary treatment or proposal—and then developing a rock- Other courses of interest are listed below. Full solid pitch. There is, indeed, a right way to pitch your descriptions of the courses may be found under the ideas and projects. This course teaches students appropriate disciplines. how to develop a project into a pitch package and Hindu Iconography and Ritual (p. 12), Sandra how to pitch that project, an essential skill for all Robinson Asian Studies writers, filmmakers, directors, and producers. With Images of India: Text/Photo/Film (p. 12), Sandra existing scripts and projects, this class guides Robinson Asian Studies students in how to understand studio and network Landscapes in Translation: Cartographies, Visions, needs, how to ensure your script is ready to pitch, and Interventions (p. 30), Charles Zerner how to establish industry contacts, how to be a good Environmental Studies communicator, how to understand and grapple with Black Box/White Cube: Moving Image Art In and Out changing audience tastes, and, overall, how to sell of the Cinema and Museum (p. 33), Kenneth your idea. Every development executive is looking for White Film History great stories and screenplays that will make Introduction to Film History, Part I (p. 31), Kenneth successful films, TV shows, and digital content. This White Film History course coaches students to evaluate the strengths Introduction to Film History, Part II (p. 32), Kenneth and weaknesses of their scripts, treatments, and White Film History projects and explore what platform will best suit Paranoid Style in Cinema (p. 33), Kenneth White Film their project and why? What kind of viewer will it History appeal to? Is it practical? Has it been done before? Art and Visual Perception (p. 113), Elizabeth Johnston Answering some of these questions will aid students Psychology in understanding the practicalities of development. Through a workshop process of analyzing scripts, THE CURRICULUM 43

3D Modeling (p. 145), Shamus Clisset Visual and During their senior year, students may also Studio Arts think about applying to the English assistantship Video Fields (p. 145), Sara Magenheimer Visual and program in France, which is run by the French Studio Arts Embassy in Washington DC. Every year, Sarah No, Really, Where Do Ideas Come From? A Fiction Lawrence graduates are admitted to this selective Workshop/Creative Bootcamp (p. 149), Myla program and spend a year in France, working in local Goldberg Writing schools for the French Department of Education. The Revolution Will Not Be Televised: Writing and Bienvenue! Producing Audio Fiction (p. 149), Ann Heppermann Writing Beginning French: Language and Words and Pictures (p. 148), Myra Goldberg Writing Culture Eric Leveau Open, Seminar—Year FRENCH This class will allow students to develop an active command of the fundamentals of spoken and written French. In class and in group conferences, The French program welcomes students of all levels, emphasis will be placed on activities relating to from beginners to students with several years of students’ daily lives and to French and francophone French. Our courses in Bronxville are closely culture, using a variety of French songs, cinema, associated with Sarah Lawrence’s excellent French newspaper articles, poems, and short stories. Group program in Paris, and our priority is to give our conferences replace individual conference meetings students the opportunity to study in Paris during for this level, and a weekly conversation session with their junior or senior year. This may include students a French language assistant(e) is required. who start at the beginning level in their first eary at Attendance at the weekly French lunch table and Sarah Lawrence, provided that they fully dedicate French film screenings are both highly encouraged. themselves to learning the language. Students who successfully complete a beginning- Our program in Paris is of the highest level, and an intermediate-level French course may be with all courses taught in French and with the eligible to study in Paris with Sarah Lawrence College possibility for students to take courses (with during their junior year. This course is conducted in conference work) at French universities and other French. Parisian institutions of higher education. Our courses in Bronxville are, therefore, fairly intensive in order to bring every student to the level required to Beginning French: Language and attend our program in Paris. Culture Even for students who don’t intend to go abroad Megan Ulmert with Sarah Lawrence, the French program provides Open, Seminar—Year the opportunity to learn the language in close This class will allow students to develop an active relation to French culture and literature, starting at command of the fundamentals of spoken and the beginning level. At all levels except for beginning, written French. In class and in group conferences, students conduct individual conference projects in emphasis will be placed on activities relating to French on an array of topics—from medieval students’ daily lives and to French and francophone literature to Gainsbourg and the culture of the 1960s, culture using a variety of French songs, cinema, from Flaubert’s Madame Bovary to avant-garde newspaper articles, poems, and short stories. Group French female playwrights. On campus, the French conferences replace individual conference meetings program tries to foster a Francophile atmosphere for this level, and a weekly conversation session with with our newsletter La Feuille, our French Table, our a French language assistant(e) is required. French ciné-club, and other francophone events—all Attendance at the weekly French lunch table and run by students, along with two French assistants French film screenings are both highly who come to the College every year from Paris. encouraged.Students who successfully complete a In order to allow students to study French while beginning- and an intermediate-level French course pursuing other interests, students are also may be eligible to study in Paris with Sarah Lawrence encouraged, after their first eary , to take advantage College during their junior year. This course is of our Language Third and Language/Conference conducted in French. Third options that allow them to combine the study of French with either another language or a lecture on the topic of their choice. 44 French Intermediate French I: Language designed to help prepare students for studying in Consolidation and Introduction to Paris with Sarah Lawrence College during their junior year. Admission by placement test to be taken during Caribbean Literature interview week at the beginning of the fall semester Claudy Delne or by completion of Beginning French. Open, Seminar—Year The main objective of this course is to help students strengthen and master their grammar skills and Intermediate French II: The vocabulary and improve their reading Writing of Everyday Life in French comprehension of literary texts. The class is an 20th-Century Literature introduction to francophone Caribbean literature, Jason Earle with a particular emphasis on some foundational Intermediate, Seminar—Year novels that epitomize the most current themes of This French course is designed for students who Caribbean history from enslavement to modern already have a strong understanding of the major times. In the first section of this ourse,c while we aspects of French grammar and language but wish aim at building and consolidating grammatical to develop their vocabulary and their grasp of more structures, students will also explore, through complex aspects of the language. Students are selected authentic texts, the everyday life of people expected to be able to easily read more complex of the francophone Antillean experience during texts and to express themselves more abstractly. A slavery and beyond the emancipation era. Individual major part of the course will be devoted to the study conferences will offer an opportunity for students to and discussion of literary texts in French. “Question further explore various themes, either related to the your soupspoons.” In this challenge to his readers, class or based on each student’s personal interests. Georges Perec summed up, in his unique manner, a Various historical themes may include, but are not particular strain of 20th-century French letters, one limited to, colonization, resistance, memory, that seeks to turn literature’s attention away from languages, identities or postcolonial Caribbean the extraordinary, the scandalous, and the strange identities, emancipation, departmentalization, and toward an examination of the ordinary makeup of so forth. Students who successfully complete a everyday life. This course will examine some of the beginning- and an intermediate-level French course aesthetic and theoretical challenges that the are eligible to study in Paris with Sarah Lawrence representation of the quotidian entails. Does the College during their junior year. Course conducted in everyday hide infinite depths of discovery, or does its French. Admission by placement test to be taken value lie precisely in its superficiality? How do during interview week at the beginning of the fall spaces influence our experience of everyday life? semester or by completion of Beginning French. How can (and should) literature give voice to experiences and objects that normally appear Intermediate French I: French undeserving of attention? How does one live one’s Language and Culture Through gender on an everyday basis? Can one ever escape from everyday life? We will review fundamentals of Film French grammar and speaking and develop tools for Liza Gabaston analysis through close readings of literary texts. Open, Seminar—Year Students will be encouraged to develop tools for the This course will offer a systematic review of French examination and representation of their own grammar and is designed to strengthen and deepen everyday lives in order to take up Perec’s call to the student’s mastery of grammatical structures interrogate the habitual. Readings will include texts and vocabulary. Students will also begin to use by Proust, Breton, Aragon, Leiris, Perec, Queneau, linguistic concepts as tools for developing their Barthes, the Situationists, Ernaux, and Calle. The analytic writing. Through a variety of French films, Intermediate I and II French courses are specially we will combine the study of language with the designed to help prepare students for studying in investigation of aspects of contemporary French Paris with Sarah Lawrence College during their junior culture, including social, political, and economic year. Course conducted in French. Admission by issues. We will review the history of French cinema placement test to be taken during interview week at and draw upon other media—including newspapers the beginning of the fall semester or by completion of and literary texts—to enable students to develop Intermediate French I (possibly Advanced Beginning their language proficiency, cultural awareness, and for outstanding students). appreciation of 20th- and 21st-century France. The Intermediate French I and II courses are specially THE CURRICULUM 45 Intermediate French III/Advanced proficiency while supporting the exploration of a French: Paris, Literary Capital wide range of new media forms and technologies. Courses of study might include visual programming, Jason Earle artificial intelligence, gaming, robotics, experimental Intermediate/Advanced, Seminar—Year animation, computer arts, experimental media Following the November 2015 terrorist attacks, the design, data visualization, real-time interactivity, French publishing world witnessed a surprising digital signal processing, cross-platform media phenomenon: The translation of Ernest Hemingway’s environments, and mobile media development. 1964 memoir of Paris, A Moveable Feast, became a Students are encouraged to coordinate these runaway bestseller. The remarkable resonance of project-based investigations of the digital Hemingway’s book in the wake of a national tragedy throughout their studies in the humanities, including highlights the profound link between literature and literature, philosophy, politics, sociology, theatre, the French capital. This course will explore that bond and writing. by analyzing how French and francophone writers have represented Paris from the late 18th century to Courses offered in related disciplines this year are the present day. We will draw from a variety of listed below. Full descriptions of the courses may be genres and traditions—realist novels, prose poems, found under the appropriate disciplines. avant-garde texts, and critical essays—in order to analyze the relationship between the spaces of the Queer New Media (p. 67), John (Song Pae) Cho city and the form of literature. Our focus will be on Lesbian, Gay, Bisexual, and Transgender Studies the many faces of the capital: We will consider the Discrete Mathematics: A Bridge to Advanced Paris of revolution and daily life, of tradition and Mathematics (p. 80), Philip Ording modernity, of community and isolation. Topics to be Mathematics considered will include the literature of monuments; Mathematical Modeling I: Multivariable streets and the flâneur; , capital, and Calculus (p. 80), Philip Ording Mathematics urbanization; history and memory; peripheries, Mathematical Modeling II: Differential Equations and zones, and the banlieue; and Paris as symbol of the Linear Algebra (p. 80), Philip Ording French nation. Authors to be studied may include Mathematics Mercier, Hugo, Balzac, Baudelaire, Zola, Apollinaire, 3D Modeling (p. 145), Shamus Clisset Visual and Breton, Beauvoir, Duras, Barthes, Perec, Ernaux, Studio Arts Guène, and Vasset. We will also watch several films Art From Code (p. 141), Angela Ferraiolo Visual and where Paris features prominently. Students will Studio Arts review the finer points of rF ench grammar, improve Digital Tools for Artists (p. 142), Angela Ferraiolo their writing skills through regular assignments, and Visual and Studio Arts develop tools for literary analysis and commentary. Game Studio: Nonlinear and Interactive Narrative (p. 141), Angela Ferraiolo Visual and Studio Arts Other courses of interest are listed below. Full Game Studio: Radical Game Design (p. 142), Angela descriptions of the courses may be found under the Ferraiolo Visual and Studio Arts appropriate disciplines. Introduction to Digital Imaging (p. 145), Shamus First-Year Studies: With Words: Clisset Visual and Studio Arts Literature and Theory, 19th-21st New Genres: Cultural HiJack (p. 141), Angela Ferraiolo Centuries (p. 68), Eric Leveau Literature Visual and Studio Arts Modern Philosophy (Descartes) (p. 95), Michael New Genres: Interactive Art (p. 142), Angela Ferraiolo Davis Philosophy Visual and Studio Arts

GAMES, INTERACTIVE ART, AND GENDER AND SEXUALITY NEW GENRES STUDIES

Games, Interactive Art, and New Genres span The gender and sexuality studies curriculum offerings in visual arts, film and media, and comprises courses in various disciplines and focuses computer science to foster technical and digital on new scholarship on women, sex, and gender. literacy in the arts. Designed for experimentation, Subjects include women’s history; feminist theory; this initiative helps students establish digital the psychology and politics of sexuality; gender 46 Geography constructs in literature, visual arts, and popular An Introduction to Statistical Methods and culture; and the ways in which gender, race, class, Analysis (p. 78), Daniel King Mathematics and sexual identities intersect for both women and Challenges to Development: Child and Adolescent men. This curriculum is designed to help all students Psychopathology (p. 112), Jan Drucker think critically and globally about sex-gender Psychology systems and to encourage women, in particular, to Crossing Borders and Boundaries: The Social think in new ways about themselves and their work. Psychology of Immigration (p. 104), Gina Undergraduates may explore women’s studies Philogene Psychology in lectures, seminars, and conference courses. First-Year Studies: Health, Illness, and Medicine in a Advanced students may also apply for early Multicultural Context: A Service-Learning admission to the College’s graduate program in Course (p. 103), Linwood J. Lewis Psychology women’s history and, if admitted, may begin work Personality Development (p. 110), Jan Drucker toward the degree during their senior Psychology year. The MA program provides rigorous training in The Empathic Attitude (p. 112), Marvin Frankel historical research and interpretation. It is designed Psychology for students pursuing careers in academe, advocacy, Both Public and Private: The Social Construction of policymaking, and related fields. Family Life (p. 122), Shahnaz Rouse Sociology Body and Soul: Drawing From Life (p. 146), Gary Courses offered in related disciplines this year are Burnley Visual and Studio Arts listed below. Full descriptions of the courses may be found under the appropriate disciplines. Gender and History in China: Beyond Eunuchs and GEOGRAPHY Concubines (p. 11), Kevin Landdeck Asian Studies Black Box/White Cube: Moving Image Art In and Out Geography is fundamentally an interdisciplinary of the Cinema and Museum (p. 33), Kenneth field, often seen as straddling the natural and social White Film History sciences and increasingly drawing upon the arts and Paranoid Style in Cinema (p. 33), Kenneth White Film other forms of expression and representation. For History these reasons, Sarah Lawrence College provides an Diversity and Equity in Education: Issues of Gender, exciting context, as the community is predisposed to Race, and Class (p. 58), Nadeen M. Thomas welcome geography’s breadth and interdisciplinary History qualities. Geography courses are infused with the Gender, Race, and Media: Historicizing Visual central questions of the discipline. What is the Culture (p. 58), Rachelle Sussman Rumph relationship between human beings and “nature”? History How does globalization change spatial patterns of The Art of Democracy: A Cultural History of the historical, political, economic, social, and cultural United States (p. 58), Lyde Cullen Sizer History human activities? And how do these patterns The Political and Cultural Work of Women Writers in provide avenues for understanding our the United States, 1790-1990 (p. 53), Lyde contemporary world and pathways for the future? Cullen Sizer History Two seminars are taught on a regular basis: Global Masculinities (p. 66), John (Song Pae) Cho Introduction to Development Studies: The Political Lesbian, Gay, Bisexual, and Transgender Studies Ecology of Development and The Geography of Love, Sex, and Globalization (p. 65), John (Song Pae) Contemporary China and Its Place in a Globalizing Cho Lesbian, Gay, Bisexual, and Transgender World Economy. Studies As a discipline built on field study, students in Perverts in Groups: The Social Life of geography classes participate in field trips—most Homosexuals (p. 65), Julie Abraham Lesbian, recently, for example, to farming communities in Gay, Bisexual, and Transgender Studies but also to Manhattan’s Chinatown, Pretty, Witty, and Gay (p. 66), Julie Abraham Lesbian, where students engage aspects of Chinese culture in Gay, Bisexual, and Transgender Studies walks through the community that expose the Queer New Media (p. 67), John (Song Pae) Cho heterogeneity of China through food, art, religion, Lesbian, Gay, Bisexual, and Transgender Studies and language while simultaneously clarifying the First-Year Studies: What We Do With Words: challenges facing recent immigrants and legacies of Literature and Theory, 19th-21st institutions imbued with racism that are carved into Centuries (p. 68), Eric Leveau Literature the built environment. That is one of the overarching goals of contemporary geography: to investigate the THE CURRICULUM 47 ways that landscape and place both reflect and will incorporate a range of formats, from traditional reproduce the evolving relationship of humans to papers to multimedia visual productions. Where each other and to their environments. possible and feasible, students will be encouraged to do primary research during fall study days and First-Year Studies: Introduction to winter and spring breaks. Some experience in the Development Studies: The Political social sciences is desired but not required. Ecology of Development Joshua Muldavin The Geography of Contemporary Open, FYS—Year China: A Political Ecology of In this yearlong seminar, we will begin by examining Reform, Global Integration, and competing paradigms and approaches to Rise to Superpower understanding “development” and the “Third World.” We will set the stage by answering the question: Joshua Muldavin What did the world look like 500 years ago? The Intermediate, Seminar—Year purpose of this part of the course is to acquaint us Despite widespread daily reporting on China’s rise to with and to analyze the historical origins and superpower status—and both its challenge to and evolutions of a world political economy, of which the its necessary partnership with the United Third World is an intrinsic component. We will thus States—what do we really know about the country? study the transition from feudalism to capitalism, In this seminar, we will explore China’s evolving the rise of merchant and finance capital, and the place in the world through political-economic colonization of the world by European powers. We integration and globalization processes. We will will analyze case studies of colonial "development" consistently focus our efforts on reframing debates, to understand the evolving meaning of this term. both academic and in mass media, to enable new These case studies will help us assess the varied insights and analyses. We will begin with an legacies of colonialism apparent in the emergence of overview of contemporary China, discussing the new nations through the fitful and uneven process unique aspects of China’s modern history and the of decolonization that followed. The next part of the changes and continuities from one era to the next. course will look at the United Nations and the role We will explore Revolutionary China and the some of its associated institutions have played in the subsequent socialist period to ground the seminar’s post-World War II global political economy, one focus: post-1978 reform and transformation to the marked by persistent and intensifying present day. Rooted in the questions of agrarian socioeconomic inequalities, as well as frequent change and rural development, we will also study outbreaks of political violence across the globe. By seismic shifts in urban and industrial form and examining the development institutions that have China’s emergence as a global superpower on its emerged and evolved since 1945, we will attempt to way to becoming the world’s largest economy. We unravel the paradoxes of development in different will analyze the complex intertwining of the eras. We will deconstruct the measures of environmental, political-economic, and sociocultural development through a thematic exploration of aspects of these processes as we interpret the population, resource use, poverty, access to food, the geography of contemporary China. Using a variety of environment, agricultural productivity, and different theoretical perspectives, we will analyze a series of development strategies adopted by Third World contemporary global debates: Is there a fundamental nation states. We will then examine globalization; conflict between the environment and rapid and its relation to emergent international development? What is the role of the peasantry in institutions, transnational corporations, the role of the modern world? What is the impact of different the state, and civil society will provide the backdrop forms of state power and practice? How does for the final ocusf of the class—the emergence of globalization shape China’s regional transformation? regional coalitions for self-reliance, environmental And, on the other hand, how does China’s global and social justice, and sustainable development. Our integration impact development in every other analysis of development in practice will draw upon country and region of the world? Modern China case studies primarily from Africa but also from Asia, provides immense opportunities for exploring key Latin America and the Caribbean, and the United theoretical and substantive questions of our time. A States. Conference work will be closely integrated product first and orf emost of its own complex with the themes of the course, with a two-stage history, other nation states and international actors substantive research project in the fall semester to and institutions—such as the , be completed in the spring. Project presentations transnational corporations, and civil society—have also heavily influenced China. The “China model” of 48 German rapid growth is widely debated in terms of its Wherever You Go, There You Are: An Exploration of efficacy as a development pathway, and yet it defies Environmental Psychology (p. 108), Magdalena simple understandings and labels. Termed Ornstein-Sloan Psychology everything from neoliberalism to market socialism to Gender and Nationalism(s) (p. 124), Shahnaz Rouse authoritarian Keynesian capitalism, it is a model full Sociology of paradoxes and contradictions. Not least of these is its impact on global climate change. Other challenges include changing gender relations, rapid urbanization, and massive internal migration. In GERMAN China today, contentious debates continue on land reform, the pros and cons of global market As the official language of theeder F al Republic of integration, the role of popular culture and the arts Germany, Austria, Liechtenstein, and portions of in society, how to define ethical behavior, several other European countries—and with of China’s social movements—from Tian’anmen to linguistic enclaves in the Americas and current widespread social unrest and discontent Africa—German is today the native tongue of close amongst workers, peasants, students, and to 120 million people. For advanced-degree programs intellectuals—and the meaning and potential in fields such as art history, music history, resolution of minority conflicts in China’s philosophy, and European history, German is still a hinterlands. Land and resource grabs in China and required language. And whether the motivation for abroad are central to China’s rapid growth and its study is business, culture, travel, friendship, or role as an industrial platform for the world. But heritage, a knowledge of German can add resulting social inequality and environmental inestimable depth to a student’s landscape of degradation challenge the legitimacy of China’s thought and feeling. leadership like never before. As China borders many Students should ideally plan to study German of the most volatile places in the contemporary for at least two years. First- and second-year German world and increasingly projects its power to the far courses aim to teach students how to communicate corners of the planet, we will conclude our seminar in German and acquire grammatical competency with a discussion of security issues, geopolitics, and through exercises that demand accuracy and also potential scenarios for China’s future. Throughout encourage free expression. While conference work in the seminar, there will be comparisons with other Beginning German consists of intensive grammar areas of the world within the context of the broader work with the German assistant (both group and theoretical and thematic questions mentioned individual conferences), intermediate-level students above. Weekly selected readings, films, mass media, work on their cultural competency by reading and books will be used to inform debate and German literature (fairy tales, novellas, poems) and discussion. A structured conference project will working on class, group, or individual research integrate closely with one of the diverse topics of projects (e.g., writing a short story or screenplay in the seminar. Some experience in the social sciences German, exploring German cities online, reading desired but not required. newspaper articles on current events). Advanced German is a cultural studies seminar. Students Other courses of interest are listed below. Full solidify their cultural competency by studying descriptions of the courses may be found under the German history and culture from the late 18th appropriate disciplines. century to the present. A special emphasis is placed on 20th-century German history and culture, Understanding Property: Cultural and Environmental including contemporary German literature and film. Perspectives (p. 29), Charles Zerner Many students of German spend a semester or Environmental Studies year studying in Germany. Students have the Love, Sex, and Globalization (p. 65), John (Song Pae) opportunity to take a 5-week summer seminar in Cho Lesbian, Gay, Bisexual, and Transgender Berlin (6 credits), where they will take a German Studies Cultural Studies seminar with an emphasis on the First-Year Studies: From Homer to Plato (p. 93), history and culture of Berlin and a class in art/ Abraham Anderson Philosophy architecture, dance, or the German language (taught Food Environments, Health, and Social at Neue Schule in Berlin). Justice (p. 106), Magdalena Ornstein-Sloan Psychology THE CURRICULUM 49 Beginning German GREEK (ANCIENT) Roland Dollinger Open, Seminar—Year The Sarah Lawrence College classics program This course concentrates on the study of grammar, emphasizes the study of the languages and vocabulary, and pronunciation in order to secure the literature of ancient Greece and Rome. Greek and basic tools of the German language. Through Latin constitute an essential component of any grammar exercises in class, dialogues, and short humanistic education, enabling students to examine compositions, students will learn the fundamental the foundations of Western culture and explore skills to speak, read, and write in German. This class timeless questions concerning the nature of the will meet three times (90 minutes) per week: twice world, the place of human beings in it, and the with Mr. Dollinger and once with Ms. Mizelle, who will components of a life well lived. In studying the also meet with students individually or in small literature, history, philosophy, and society of the groups for an extra conference. Course materials ancient Greeks and Romans, students come to include the textbook, Neue Horizonte, along with a appreciate them for themselves, examine the workbook and a graded German reader that will continuity between the ancient and modern worlds, allow students to start reading in German after the and, perhaps, discover “a place to stand”—an first eekw . We will cover at least 12 chapters from objective vantage point for assessing modern the textbook—all of the basic grammar and culture. vocabulary that students will need to know in order In their first eary of study, students acquire to advance to the next level. There will be short proficiency in vocabulary, grammar, and syntax, with written tests at the end of each chapter. Students the aim of reading accurately and with increasing will also learn basic facts about Germany today. insight. Selected passages of ancient works are read in the original languages almost immediately. Intermediate German Intermediate and advanced courses develop Nike Mizelle students’ critical and analytical abilities while Intermediate, Seminar—Year exploring ancient works in their literary, historical, This course stresses speaking, reading, and writing and cultural context. Conference projects provide German and a thorough review of German grammar. opportunities for specialized work in areas of Its aim is to give students more fluency and to interest in classical antiquity. Recent conference prepare them for a possible junior year in Germany. projects have included close readings of Homer’s Readings in the fall will consist of fairy tales, short Iliad, Aristophanes’ Clouds, Pindar’s Odes, Plato’s stories, poems, and three novellas by the Austrian Republic, Cicero’s de Amicitia, the poetry of Catullus, writer Stefan Zweig. Students will give several oral and Virgil’s Aeneid, as well as studies of modern presentations (on a , on a German city, on a theories of myth, Nietzsche’s Birth of Tragedy (in German artist or intellectual). In the spring connection with the tragedies of Aeschylus, semester, we will use Im Spiegel der Literatur, a Sophocles and Euripides), the social implications of collection of short stories written by some of the Roman domestic architecture, and a comparison of most famous German writers such as Thomas Mann Euripides’ Hippolytus with Racine’s Phèdre. and Bertolt Brecht. A solid grammar review, based on Greek and Latin will be especially beneficial orf the book German Grammar in Review, will help students interested in related disciplines, including students improve their speaking and writing skills. religion, philosophy, art history, archaeology, history, Regular conferences with Ms. Mizelle will political science, English, comparative literature, and supplement class work. Prerequisite: Beginning medieval studies, as well as education, law, German at Sarah Lawrence College or another medicine, and business. Greek and Latin can also institution of higher learning or at least four prove valuable to all those who wish to enrich their semesters of German in high school. imagination in the creative pursuits of writing, dance, music, visual arts, and acting. Another course offered in a related discipline this Beginning Greek year is listed below. A full description of the course may be found under the appropriate discipline. Emily Fairey Open, Seminar—Year Modern German Literature and Film From 1871 to the This course provides an intensive introduction to Present (p. 70), Roland Dollinger Literature ancient Greek grammar, syntax, and vocabulary, with the aim of reading authentic excerpts of ancient Greek poetry and prose as soon as possible. We will 50 Health, Science, and Society also examine the etymological relationship of Greek health, science, and society are encouraged to take to English and discuss the development of Greek courses across the curriculum and to design culture during the Classical era. There will be several interdisciplinary conference projects. short quizzes and two longer translation exercises. Over the past 25 years, as health and disease Students will also choose a special author or topic have been examined from social, economic, political, for a conference project. During the spring semester, and historical perspectives, there has been an while continuing to refine their grammar and increased awareness of the ways in which reading skills, students will read extended selections definitions of disease are framed in relation to the of Plato’s Apology in the original Greek. values, social structures, and bases of knowledge of particular communities. Globalization has required Intermediate Greek us to understand health and disease as crucial international issues, and environmental health is Samuel B. Seigle increasingly seen to be a matter of policy that has Intermediate, Seminar—Year significantly differential effects on different This course has two aims: to develop the student’s populations. Public talks and events are regularly ability to read Greek intelligently and fluently and ot scheduled to bring together undergraduate and give the student a general understanding of Greek graduate faculty and students to consider these history and literature. The authors to be read will be questions of health, medicine, and scientific determined at the time of registration. knowledge from a broad variety of perspectives. This focus of study may be of interest to Advanced Greek students interested in the health professions, Samuel B. Seigle including pre-med, nursing, or allied professions Advanced, Seminar—Year such as physical therapy, allowing them to combine This course has two aims: to extend the student’s courses in the natural sciences with explorations of ability to read classical Greek and to deepen the the social sciences, arts, and humanities. Similarly, student’s appreciation of the literary traditions of students in the arts and humanities who are the Greeks. The authors to be read will be interested in health and illness may find that determined at the time of registration. incorporating science and social science into their educational program enables them to achieve a greater depth of understanding and expression in Other courses of interest are listed below. Full their work. descriptions of the courses may be found under the The health, science, and society program offers appropriate disciplines. undergraduate students the unique opportunity to Advanced Latin (p. 64), Emily Fairey Latin take advantage of Sarah Lawrence College’s Beginning Latin (p. 63), Samuel B. Seigle Latin nationally recognized graduate master’s programs in Intermediate Latin (p. 63), Emily Fairey Latin Human Genetics and Health Advocacy, both of which The Greco-Roman World: Its Origins, Crises, Turning are the first such graduate programs offered in the Points, and Final Transformations (p. 71), country. Events and programs are also coordinated Samuel B. Seigle Literature with the graduate programs in Art of Teaching and Ancient Philosophy (Plato) (p. 95), Michael Davis Child Development and in collaboration with the Philosophy Child Development Institute.

Courses offered in related disciplines this year are listed below. Full descriptions of the courses may be HEALTH, SCIENCE, AND SOCIETY found under the appropriate disciplines. Forensic Biology (p. 13), Drew E. Cressman Biology Health, science, and society is a cluster of Genetics (p. 13), Anthony Esposito Biology undergraduate and graduate courses, programs, and An Introduction to Statistical Methods and events that address the meaning of health and Analysis (p. 78), Daniel King Mathematics illness, advocacy for health and health care, and Mathematical Modeling I: Multivariable structures of medical and scientific knowledge. Calculus (p. 80), Philip Ording Mathematics Courses and events are multidisciplinary, bringing Mathematical Modeling II: Differential Equations and together perspectives from the humanities, creative Linear Algebra (p. 80), Philip Ording arts, social sciences, and natural sciences. Mathematics Undergraduate students who are interested in THE CURRICULUM 51

Challenges to Development: Child and Adolescent we consider not only how Americans in the period Psychopathology (p. 112), Jan Drucker from 1607 to 1877 differed from us but also how Psychology much they differed from one another. How did the First-Year Studies: Health, Illness, and Medicine in a early and diverse European colonists themselves Multicultural Context: A Service-Learning deal with unfamiliar cultures at a time when the Course (p. 103), Linwood J. Lewis Psychology very concept of newness was alien to them? We Food Environments, Health, and Social must not forget that Columbus believed that he had Justice (p. 106), Magdalena Ornstein-Sloan simply discovered a new route to India. As different Psychology as they were from each other, neither the Native Personality Development (p. 110), Jan Drucker Americans who lived in North America, nor the Psychology Europeans who colonized that region, nor the The Empathic Attitude (p. 112), Marvin Frankel Africans whom the colonists imported as slaves had Psychology any intention of establishing a new nation. The Synapse to Self: The Neuroscience of Self- Consequently, in examining American history from Identity (p. 105), Adam Brown Psychology the early 17th century to the Civil War, the question Ways of Knowing Each Other: Psychotherapeutic should not be why the US divided during the Civil War Models and the Restoration of but, rather, why Americans were able to unify as a Freedom (p. 104), Marvin Frankel Psychology nation at all. In our consideration of this question, Disabilities and Society (p. 122), Sarah Wilcox we will focus on two interrelated themes: how these Sociology different cultures interacted with and affected one Embodiment and Biological Knowledge: Public another and how Americans defined their identity. Engagement in Medicine and Science (p. 122), Who was considered American, and what did it mean Sarah Wilcox Sociology to be an American? What was the relationship between American identity and other forms of social identity, such as gender, class, race, and culture? We will address these questions by examining major HISTORY political, social, cultural, and intellectual developments in American history from the colonial The history curriculum covers the globe. Most period to the Civil War and Reconstruction. Specific courses focus on particular regions or nations, but topics to be studied will include the European offerings also include courses that transcend colonization of North America, relations between geographical boundaries to examine subjects such European settlers and Native Americans, the as African diasporas, Islamic radicalism, or European relationship between the colonies and Britain, the influences on US intellectual history. Some courses causes and effects of the American Revolution, the are surveys—of colonial Latin America, for example, shift to a capitalist economy and the advent of the or Europe since World War II. Others zero in on more Industrial Revolution, the character and specific opics,t such as medieval Christianity, the development of slavery, and the causes and Cuban revolution, urban poverty and public policy in consequences of the Civil War. We will use both the United States, or feminist movements and primary and secondary sources, but the course will theories. While history seminars center on reading place particular emphasis on primary documents as and discussion, many also train students in aspects part of an effort to view history from the of the historian’s craft, including archival research, perspectives of historical actors themselves. historiographic analysis, and oral history. First-Year Studies: The Urban First-Year Studies: Inventing Century: How Cities Shaped and America: Cultural Encounters and Were Shaped by Modern European American Identity, 1607–1877 History Eileen Ka-May Cheng Philipp Nielsen Open, FYS—Year Open, FYS—Year “The past is a foreign country,” T.H. Hartley once In the middle of the 20th century, only 16 percent of declared, and perhaps the past of one’s own country Europeans lived in cities. On the eve of World War I, is doubly so. The present, after all, always seems this number had roughly doubled. In Western Europe, inevitable. Surely the United States of 2017 is but the already half of the population was urban. Though flowering of the seeds planted so many centuries many of these cities were small, with fewer than ago. This course seeks to challenge this assertion, as 20,000 inhabitants, the European metropoles grew, 52 History too. By 1920 in Germany, for example, 21 percent lived Becoming Modern: Europe from in cities with more than 100,000 inhabitants, up 1760 to 1914 from only five percent in 1871. Berlin, Paris, London, St Petersburg, and Vienna all had several million Philip Swoboda citizens. This urbanization shaped, and was shaped Open, Lecture—Year by, European history. Industrialization and advances What are the distinctive features of our “modern” in agriculture, sanitation, and transportation played civilization? A partial list would include a vital role in this process. Wars and Europe’s representative democracy, political parties, changing borders also shaped the cities’ fate. Much nationalism, religious pluralism and secularization, of what we today think of as modern originated in mass production, rapid technological change, cities. Cities often set political and cultural trends. consumerism, free markets, a global economy, and The “Roaring Twenties” and the student movements unceasing artistic experimentation. All these of 1968 were fundamentally urban phenomena. Yet characteristically modern things became precisely for this reason, cities also inspired vitriol established in the 19th century, and most of them and opposition—from nationalist back-to-nature were pioneered by Europeans. Yet in Europe, with its advocates afraid of the negative consequences of ancient institutions and deeply rooted traditions, their “cosmopolitan nature” to health-care this new form of civilization encountered greater professionals worried by the detrimental effects of resistance than it did in that other center of the cities on their inhabitants’ health. Joseph innovation, the United States. The resulting tensions Goebbels, Hitler’s chief propagandist, railed against between old and new in Europe set the stage for the “Jewish Berlin.” To this day, conservative French devastating world wars and revolutions of the 20th politicians extol “la France profonde,” the true France century. In this course, we will examine various found in its provincial towns rather than in Paris, aspects of the epochal transformation in ways of Lyon, or Marseille. Through the lens of the city, this making, thinking, and living that occurred in Europe course investigates major developments in modern during what historians call the “long 19th century” European history, from the birth of mass politics and (1789–1914). We will also survey the political history the effects of the World War I and World War II to the of the period and consider how the development of emergence of modernist art and environmentalism. modern civilization in Europe was shaped by the Students will be introduced not only to European resistance it encountered from the defenders of history but also to the historian’s craft. They will older ways. Group conference readings will include work with a variety of primary sources: from novels, plays, political programs, philosophical and government documents to literature, from movies to scientific writing, and ecr ent studies on the history propaganda speeches, from city maps to diary of 19th-century art. entries. In addition, they will learn to read secondary sources and analyze historiographical arguments. The Making of Black America Komozi Woodard First-Year Studies: In the Open, Lecture—Year Tradition: An Introduction to The rise of black America transformed American society, economy, and polity, as well as religion and African American History culture. Most school books, however, erase an epic Komozi Woodard that W.E.B. DuBois called, "the most magnificent Open, FYS—Year drama in the last thousand years of human history." African American history is an important window This lecture is an introduction to that hidden drama, into the history of the United States and the rise of including stories of tragedy and triumph. Discover: the modern world. This course explores classic how the grassroots organized the Underground narratives and examines major developments. The Railroad during bondage; the Union Leagues during classic narratives are stories of self-emancipation Reconstruction; black populism during racial and self-determination. The major developments peonage; the Niagara Movement during white terror; range from the Atlantic Slave Trade to the Black the anti-lynching crusade during mob violence; the Renaissance. On the one hand, students examine the Universal Negro Improvement Association during the dynamics of modern racism; on the other hand, Summer of 1919; the Chicago Black Renaissance students explore the contours of African American during the ; and the Negro social, cultural, and intellectual history. Leagues during the age of Jim Crow. THE CURRICULUM 53 International Law reform within the Ottoman and Qajar empires; the experience of different forms of European Mark R. Shulman imperialism in the Middle East; the integration of the Open, Lecture—Fall Middle East into the world economy; World War I and In a global landscape pocked by genocide, wars of the collapse of the Ottoman Empire; state-building in choice, piracy, and international terrorism, what both colonial and post-colonial contexts; good is international law? Can it mean anything transformations in religious thought; changing without a global police force and a universal family norms and gender roles and the genesis of judiciary? Is “might makes right” the only law that Middle Eastern women’s movements; nationalism; works? Or is it true that “most states comply with class politics, social movements, and revolution; most of their obligations most of the time”? These Zionism and the -Palestine conflict; post-WWII essential questions frame the contemporary geopolitics and the Cold War in the Middle East; practice of law across borders. This lecture provides Nasserism and pan-Arabism; the role of US power in an overview of international law—its doctrine, the Middle East; the origins and spread of political theory, and practice. It addresses a wide range of Islam; the political economy of oil; globalization and issues, including the bases and norms of neoliberalism; and the impact of various new international law, the law of war, human-rights cultural forms and media on the formation of claims, domestic implementation of international identities across the region. norms, treaty interpretation, and state formation/ succession. The Political and Cultural Work of Human Rights Women Writers in the United Mark R. Shulman States, 1790-1990 Open, Lecture—Spring Lyde Cullen Sizer History is replete with rabid pogroms, merciless Open, Seminar—Year religious wars, tragic show trials, and even genocide. "This is what I want you to do,” novelist Rebecca For as long as people have congregated, they have Harding Davis wrote in 1861. “I want you to hide your defined themselves, in part, as against an disgust, take no heed to your clean clothes, and other—and have persecuted that other. But history come right down with me—here, into the thickest of has also yielded systems of constraints. So how can the fog and mud and foul effluvia. I wantou y to hear we hope to achieve a meaningful understanding of this story. There is a secret down here, in this the human experience without examining both the nightmare fog, that has laid dumb for centuries: I wrongs and the rights? Should the human story be want to make it a real thing to you." Using the left to so-called realists, who claim that power wins literary and expository writing of US women, we will out over ideals every time? Or is there a logic of explore American stories and secrets, what these mutual respect that offers better solutions? This writers are working to make “a real thing to you.” lecture examines the history of international human Readings will include autobiography, novels, stories, rights. It focuses on the claims that individuals and and cultural criticism. Rather than just following groups make against states in which they live. canonical literary or intellectual history, we will investigate less well-known and popular fictions The Emergence of the Modern alongside classics. Major themes will include questions of politics, race, class, and regional Middle East conflict; womanhood, manhood, and sexuality; Matthew Ellis American identity and nationalism; and immigration. Open, Seminar—Year Course work will focus on literary and print culture, This course provides a broad introduction to the but students may explore other media in conference. political, social, cultural, and intellectual history of Particular emphasis will be placed on careful the Middle East from the late 18th century to the research of the historical context when analyzing present. After a brief conceptual overview, the primary documents from the period. A working course draws upon a wide array of primary and knowledge of the political history of the time is secondary sources to illuminate the manifold necessary; students who need refreshing will be transformations and processes that have expected to consult a textbook regularly. contributed over time to shaping what has meant to be “modern” in this remarkably diverse and dynamic region. Particular attention will be paid to the following themes: the question of modernization and 54 History Effort, Merit, Privilege do we mean by the Revolution?” The course will look at the many different answers that revolutionary Persis Charles Americans gave to Adams’s question by examining Open, Seminar—Fall the political, intellectual, social, and cultural This course is a history of ideas and practices dimensions of this event. Was the Revolution simply connected to the notion of advancement by merit a struggle for political independence, or was it also a rather than by inherited status or wealth. This social conflict vo er who would “rule at home”? Was comparatively modern idea is more complex than it the American Revolution a transformation in the may appear. We will focus on four epochs in which “hearts and minds” of the people, as Adams believed, personal merit came increasingly to the fore. The or was the War of Independence integral to the first is the age of the rF ench Revolution and meaning and character of the Revolution? Did the Napoleon. With the cry, “The career open to talent,” Revolution end with the close of the war, or was the and the abolition of feudal privilege, the war “but the first act of the great drama,” to use revolutionaries helped to further the development of Benjamin Rush’s words? What was the relationship individualism, self-assertion, and personal ambition between the Constitution and the Revolution? Was while, at the same time, implicating the citizen more the Constitution a conservative reaction to the and more deeply in the apparatus of the state. The radicalism of the Revolution, or did the Constitution second era will be 1859 to 1870 in Britain, from the extend and solidify what the Revolution had publication of The Origin of Species and the anxieties achieved? While the emphasis of the course will be that it provoked about the struggle for existence to on what the Revolution meant for those who the education act of 1870. That act, which followed a participated in it, we also look more broadly at the major liberalization of the , set popular long-term legacy and memory of the Revolution. education on its feet as a national project. We will Through this examination, the course ultimately study the right to vote and to get an education as the seeks to address the question: What was the basis means by which the culture created marks of merit. for and nature of American national identity? Some We will also look at the struggles of those excluded, background in history is helpful but not required. such as women and the very poor. The next period is the aftermath of the , from Reconstruction to Jim Crow. The slaves, now free, The Russian Revolution what was to become of them? Should they compete Philip Swoboda in society at large, or was it their lot to be kept Open, Seminar—Fall permanently in a kind of quasi-slavery without the This year marks the 100th anniversary of the two right to vote or to go to school? The last period Russian revolutions of 1917: the February Revolution brings us up to the present, with its many instances that overthrew the tsar and the October Revolution, of meritocracy. The postwar foundation of the nine months later, that put the Communist Party of welfare state will be examined in the light of the Vladimir Lenin in control of the world’s largest many challenges to it, especially from the forces country. Arguably, the seizure of power by Lenin’s promoting inequality that coexist with party was the decisive political event of the 20th unprecedented opportunities for talented century. If that hadn’t occurred, there would individuals. We will look at the problems this poses probably have been no turn toward fascism in for education, wealth, and social well-being. This Europe, no Hitler, and no World War II. A large part of course is best for students with some previous the world’s population would not have found itself, exposure to history or the social sciences. after 1945, under the rule of Marxist dictatorships. Students in the course will read and discuss a variety The American Revolution: From of texts that discuss the causes of the 1917 British to American Nationalism revolutions, the nature of the regime that Lenin and his followers instituted following their conquest of Eileen Ka-May Cheng power, and the global repercussions of their success Open, Seminar—Fall in establishing what they claimed to be the world’s It may be comforting to know that historians agree first “Workers’ State.” The course will therefore serve that an American Revolution did, indeed, occur. Less not only as an introduction to the history of modern comforting but more intriguing may be the Russia but also to the history of world communism realization that historians do not agree on when it and anti-communism in the four decades after 1917. commenced and when it ended, much less on the full Students may choose to pursue conference research meaning of what exactly took place beyond the mere devoted to events in Russia but also will be facts of the Revolution. Certainly, the question was profound enough to move John Adams to ask, “What THE CURRICULUM 55 encouraged to develop projects dealing with the idealism? We remember the , but can anyone reverberations of the Russian Revolution in other recall the basis of our claim to that territory? Are we parts of the globe. not here going further and actually equating bloodshed with idealism? To what extent did Good to Think With: The Culture of Americans see their later wars as an extension of the Revolutionary War? Was the Civil War a second Food American Revolution, or was the American Persis Charles Revolution 's first civil war? The course Open, Seminar—Spring will examine these questions by looking at how Drawing on perspectives from the historical past and Americans perceived and remembered the wars in the present day, this course will focus on the social which they fought from the Revolution to World War and cultural aspects of how we grow and consume II. Among the other wars to be considered are the food. We will explore issues such as how food War of 1812, the Mexican-American War, the Civil production and presentation have changed over time War, and World War I. In effect, the course offers an and how different consumption patterns have exploration of how we may "see things not as they affected identity and sociability. An example of this are but as we are." Some background in history would be the rivalry between wheat and corn that helpful but not required. dogged world civilization for centuries, influencing issues such as how bread was made, what constituted the best diet for convicts, and of what Spiritual Autobiography material communion wafers should be made. We will Philip Swoboda look at how authors shape narratives about food, Open, Seminar—Spring social change, conflict, and accommodation. Around 398, Christian bishop and theologian Subjects of study will include the early modern trade Augustine of Hippo produced one of the most in coffee, tea, and spices; the voyages to the New influential books of all time: his onfC essions—a World and the attendant disruptions of various lengthy meditation on events during the first 33 populations; the effects of the French Revolution; years of Augustine’s life, undertaken in an effort to the Irish potato famine; and Hitler’s and Stalin’s comprehend how God acted through those events to policies of imposing famine on conquered peoples. transform an ambitious but confused young Roman, We will examine the role of science and modernity in attracted by the exotic Asian cult of the Persian creating the agricultural systems that provide us prophet Mani, into a dedicated Christian. Augustine’s with our food. This will include a look at book is arguably the first ealr autobiography ever agribusiness, its friends and enemies, and various written, and the author’s profound exploration of his possible alternatives to it. The problem posed by the own motivations and feelings led William James to overabundance of food and food wastage will be term Augustine the “first modern man.” The addressed. Confessions also served as the model for hundreds of other spiritual autobiographies written over the course of the next 1,600 years, including War in the American Imagination masterworks such as The Life of St. Teresa of Ávila, Eileen Ka-May Cheng William Wordsworth’s Prelude, John Henry Newman’s Open, Seminar—Spring Apologia pro Vita Sua, Leo Tolstoy’s Confession, and Americans often like to think of the United States as Thomas Merton’s Seven Storey Mountain. In this a nation founded on ideals, but the United States course, students will read and discuss these and also was, as one historian has put it, a nation other classics of Christian autobiography. They will "founded in blood." was once our Statue also be invited to examine a number of comparable of Liberty. After all, the American Revolution was not works by writers standing outside the Christian just a struggle for the ideals of liberty and equality tradition, including the Meditations of Marcus that Jefferson so eloquently expounded in the Aurelius and M. K. Gandhi’s Story of My Experiments Declaration of Independence; it was also a war of With Truth. These readings are gripping, because independence from Britain, an international conflict they attempt a uniquely challenging feat: to capture that included France and Spain and, let us not forget, the history of an individual soul’s relations with the a bitter and cruel civil war amongst Americans Infinite through the language that we use to themselves. In effect, we were birthed as a nation describe our everyday experience. We will combine divided. How did this legacy of bloodshed shape detailed literary analysis of the autobiographies, American identity? To what extent did Americans with an examination of their content in the light of sacralize bloodshed and thus conflate it with recent writing on the phenomenology of religion. 56 History Conference projects may address a wide range of Ideas of Africa: Africa Writes Back topics in the general area of the history of religion Mary Dillard and religious expression. Sophomore and above, Seminar—Fall The continent of Africa has variously been described Gender and History in China: as the birthplace of humanity, the “Motherland,” a Beyond Eunuchs and Concubines country, a continent, “Mother Africa,” and a “heart of Kevin Landdeck darkness.” All of these descriptions reflect Sophomore and above, Seminar—Year representations of Africa, but how accurately do This seminar is a sustained historical exploration of they reflect ealityr ? The goal of this class is to study gender in the Chinese context, which is not only the intellectual history of what we know—or think significant in its own right but also serves to we know—about modern Africa. Why is it that some complicate some of the common Euro-American of the most prominent images of Africa today are assumptions about family dynamics, emotional life, either negative (e.g., Africa as a diseased, hungry, and gender hierarchies. We will treat female and war-ravaged continent) or romanticized (e.g., Africa male as historically constructed categories, as a mother figure, birthplace of civilization, or lush examining how both have been tied to modes of nature preserve)? A central theme of our power (familial, social, economic, and political). In discussions will be that ideas have a history that is other words, how men and women have been as powerful as radioactive isotopes. In other words, imagined and portrayed, made and mobilized, at ideas maintain a shelf life even when their origins different times. We will confront, head on, have long become obscured. Unfortunately, this has stereotypes about the passive Chinese woman and profound implications for Africa’s place in a modern, the Confucian family, asking where do we find and globalized world where image can be as important as how do we understand women’s agency within the reality. Through the use of historical documents, permutations of the traditional Chinese family? We political manifestos, philosophical treatises, travel will interrogate Imperial Era family conflicts and the narratives, current news sources, and , we will practice of footbinding to highlight female agency study how the image of Africa has changed over within, and complicity with, the gender hierarchy. time. We will trace the “heart of darkness” narrative The appearance of feminism in the early 20th and analyze why it has become such an enduring century and its subsequent fate will provide a trope of modern Africa. Ultimately, our purpose will window on how gender shaped revolution and how be to interrogate various descriptions of Africa over gender was, in turn, shaped by it. And rather than time and analyze where they originated from, why leave masculinity as an assumed constant, we will they exist, and whether they are accurate. examine historical and cultural constructions of what it meant to be a man in China. Located between Pluralism and Its Discontents: the poles of the scholar and the warrior, Chinese Lessons From German History manliness exhibits unfamiliar contours and traits. Philipp Nielsen The course also covers same-sex desire in both Sophomore and above, Seminar—Fall traditional and modern China. For example, in the If Angela Merkel is hailed today by The New York late Imperial Era, we will look at homoeroticism Times as the last leader of the liberal world, this among fashionable elite men and at female amounts, at the very least, to an ironic turn of “marriage resisters” who dared to form all-women events. For much of the 19th and 20th centuries, communities in a society where marriage was Germany had a contentious relationship with virtually universal. Class readings consist primarily liberalism—and, by extension, democracy. The very of historical scholarship; however, (translated) meaning of liberalism and democracy were disputed. primary sources pepper the course and include ritual Even more so than the history of the Third Reich, the prescriptions, (auto)biographies, essays, drama, and periods preceding and following Nazism are fiction that ground our inquiries into the illuminating for politics today. German politicians, authenticity of Chinese voices. Due to its reading constitutional theorists, journalists, and citizens load, this seminar is listed as “intermediate” but discussed what “government by the people” actually requires no prior knowledge of Chinese history. meant; what place, if any, the opposition had in a constitutional structure; and how elections, parliament, and government related to each other. With an eye on current debates, this course will provide a rigorous history of German democratic theory and practice from the late 19th century until THE CURRICULUM 57 today. We will read primary sources such as Propaganda: A History of Spin constitutional theory, political speeches, and Matthew Ellis, Shahnaz Rouse autobiographical accounts of parliamentarians, as Intermediate, Joint seminar—Spring well as secondary literature on the development of This seminar provides an interdisciplinary analysis of parties, voting behavior, and political propaganda, the phenomenon of mass persuasion in modern among others. Prior knowledge of German history is society. How does propaganda “work”? How should helpful but not necessary; however, in preparation we characterize the individuals and institutions that for the course, it is highly recommended to shape and disseminate it? What are the specific familiarize yourself with the basic outlines of languages and visual symbols that propagandists German modern history. Select survey literature on have typically used to affect mass audiences? How modern German history will be on reserve at the have both “democratic” and “authoritarian” library. societies sought to generate consent. And how, in turn, have individuals and social groups drawn the "We Refugees": A History of line between what is truth and what is propaganda? Displacement in Modern Europe Although the manipulation of information for Philipp Nielsen political ends has been intrinsic to human societies Sophomore and above, Seminar—Spring across history, this course focuses on the so-called In 1922, in response to a wave of refugees from civil “axial age of propaganda,” beginning with World War war Russia, the League of Nations created a passport I, which saw the emergence of tightly organized, for stateless people: The Nansen Passport. It was one large-scale, government-sponsored propaganda of several measures to deal with the massive efforts across Europe and the United States. The displacement occasioned by the results of World War course will place special emphasis on the interwar I and the revolutions and redrawing of boundaries period, when—amid the onset of totalitarian that followed. Migration, for economic or political regimes in Europe—the very nature of “public reason, was not new to 20th-century Europe. Yet the opinion” and mass society were hotly debated by (re)emergence of strict border regimes, the rise of intellectuals and interpretive experts. This course international law but also of fascism and will utilize a variety of case studies to explore the communism, and the sheer numbers of people on symbolic content of specific kinds of propaganda the move within Europe as a result of two world wars and the institutional milieux that produce it, paying fundamentally changed the conditions, as well as attention both to propaganda that seeks to the experience, of displacement. This course overthrow social structures as well as to maintain investigates the events that forced (or motivated) them. Finally, the course will consider the ubiquity of Europeans to move in the 20th century. It traces the propaganda in contemporary society, focusing on the development of law, language and institutions role of image-making professionals working in the dealing with migration that arose in response to it. spheres of political campaigning, advertising, and Yet, it also gives voice to the individual experience of public relations. Specific asec studies may include: refugees, be it the German-Jewish intellectual The U.S. Committee on Public Information during who wrote “We Refugees” in her New World War I, the Nazi Ministry of Propaganda, York exile in 1942 or a Ukrainian forced laborer Stalinism and the Soviet Union, state control of stranded in Germany following World War II. The culture under the Deutsche Demoktratische Republik course will primarily focus on mid-century Europe, (East Germany), McCarthyism and the Hollywood when the structures emerged that regulate today’s blacklist, ISIL, and Breitbart News and Trumpism. refugee-related politics. We will consider the history of terms such as stateless people, refugees, Revolutionary Lives: Biographical displaced persons, and asylum seekers and the way Perspectives on the Black in which these terms influenced both politics and Freedom Movement experience. Toward the end of the semester, we will discuss current events in Europe in light of this Priscilla Murolo history. Intermediate, Seminar—Spring The Black Freedom Movement that erupted after World War II rallied African American communities across the country, set the stage for a host of kindred movements in the United States, and inspired many millions around the world. This course explores the Freedom Movement’s history through 58 History the life stories of women and men who mobilized Gender, Race, and Media: under its banners, through organizations including Historicizing Visual Culture civil rights groups like the NAACP and Southern Christian Leadership Conference, Marxist parties of Rachelle Sussman Rumph various sorts, and nationalist formations such as the Advanced, Seminar—Year Black Panther Party, the Revolutionary Action In this course, we will engage with the field of visual Movement, and the Republic of New Africa. Readings culture in order to develop a critical framework include works of biography, autobiography, and through which we may understand visual perception memoir that tell the riveting stories of both high- as a set of practices that inform and are informed by profile figures—Rosa Parks, , , structures of power. Throughout the semester and and others—and foot soldiers whose names were the year, we will consider the following questions: never widely known outside the movement or have What does it mean, from an historical perspective, to since been forgotten. Their personal histories offer live in a society that seemingly privileges visual uncommon perspectives on the Freedom Movement perception? How does power figure into past and by illuminating its international connections, for contemporary viewing practices? How have visual example, and by challenging the conventional technologies been leveraged to situate alternative wisdom that civil rights and Black Power activists practices of looking more squarely within Western were fundamentally at odds. These histories also publics’ fields of vision? eW will accomplish this by invite us to ponder timeless questions about focusing on the rich scholarship of visual culture personal responsibility and the power of individuals theory, media and communication scholarship that to change the world. The course is a reading- foregrounds gender and racial analysis, and the intensive seminar. Open to sophomores, juniors and excellent work that bridges media/visual studies and seniors. women’s history. We will work with a variety of texts, such as art, advertising, print magazines, television programming, film, and social media. eadingsR The Art of Democracy: A Cultural roughly span the 19th century through the History of the United States contemporary era. Through our readings, we will Lyde Cullen Sizer observe the ways in which the 19th-century Advanced, Seminar—Year production and circulation of images of the “other” The story most typically told of America focuses on and a gendered gaze began to take on a particular the path taken, the victors and the nature of their potency in the United States and Europe with the victory, the dreamers whose dreams were realized, growth of industrialization, commercial advertising, and central figures in a largely political narrative. In and immigration. Twentieth-century scholarship will this course, we will revisit the United States through focus on, among other things, the rise of a global the art and lives of those more on the media landscape in which the lines between margins—dreamers and doers who faced heavier producers and consumers of media become odds or who dreamed of a world that never arrived. increasingly blurred. An examination of Through short stories, novels, memoirs, and cultural contemporary viewing practices will enable us to criticism, we will revisit the story of the idea and consider some of the implications of a radically reality of America as it has unfolded. Themes will fractured “mediascape” and its attendant struggles include gender and sexuality, race and prejudice, over ownership of meaning, as media technologies class and class struggle, region and religion, and enable visual processes of signification to spin out immigration and national identity. Readings will wildly in unpredictable and surprising directions. include primary sources from the time period, as well as historical articles and books. In the spring, Diversity and Equity in Education: we will add film. As ew read and watch, we will also Issues of Gender, Race, and Class write; this will be a course that emphasizes the synthesis of historical research and expository Nadeen M. Thomas writing. A working knowledge of the political history Advanced, Seminar—Year of the time is necessary. Students who need The education system is a central institution in the refreshing will be expected to consult a textbook socialization of young people and the maintenance regularly. Open to juniors and above; permission of of the modern nation-state. Schools support the instructor is required. meritocratic models of society by providing opportunities for social mobility. Paradoxically, schools also reproduce gender, racial, and class inequality. In this course, we will examine the roles THE CURRICULUM 59 that schools play in the transmission of culture, Landscapes in Translation: Cartographies, Visions, formation of identity, and reproduction of social and Interventions (p. 30), Charles Zerner structures. Paying special attention to gender and its Environmental Studies intersection with other social categories, we will First-Year Studies: Introduction to Development look at practices and policies that shape students' Studies: The Political Ecology of performance as they strive for competence, Development (p. 47), Joshua Muldavin achievement, and acceptance. We will also analyze Geography the larger political and economic contexts that The Geography of Contemporary China: A Political shape both schools and the communities in which Ecology of Reform, Global Integration, and Rise they are situated. to Superpower (p. 47), Joshua Muldavin Geography Middle Eastern Nationalisms Perverts in Groups: The Social Life of Homosexuals (p. 65), Julie Abraham Lesbian, Matthew Ellis Gay, Bisexual, and Transgender Studies Advanced, Seminar—Fall First-Year Studies: From Homer to Plato (p. 93), This course provides an intensive theoretical and Abraham Anderson Philosophy historical inquiry into the phenomenon of Philosophy and Conflict: The Idea of War (p. 94), nationalism as it has played out in the Middle East Gwenda-lin Grewal Philosophy since the late 19th century. What is a nation? How Thinkers on the Right (p. 95), Abraham Anderson are nation-states built and sustained? How did the Philosophy nation form first akt e shape in the Middle East, and First-Year Studies: The Hebrew Bible (p. 115), what are the broad challenges and historical Cameron C. Afzal Religion mechanisms that have governed its evolution across Jewish Mysticism From Antiquity to the a variety of specific ontc exts? The course will be Present (p. 117), Glenn Dynner Religion broken into two main sections. Part I will examine Readings in Christian Mysticism: Late the current theoretical literature on the origins and Antiquity (p. 118), Cameron C. Afzal Religion spread of nationalism, introducing students to key The Holocaust (p. 117), Glenn Dynner Religion scholarly debates and innovations that transcend The Jews in Europe (p. 115), Glenn Dynner Religion Middle Eastern historiography. Part II will develop Both Public and Private: The Social Construction of and apply the themes and theoretical concepts from Family Life (p. 122), Shahnaz Rouse Sociology Part I by exploring specific Middle astE case studies, Gender and Nationalism(s) (p. 124), Shahnaz Rouse focusing both on state-sponsored nationalism as Sociology well as on popular practices and experiences of First-Year Studies in Theatre: History and nationhood and national identity. Brief attention will Histrionics: A History of Western also be paid to professional history-writing in the Theatre (p. 127), Stuart Spencer Theatre Middle East since the 1930s, specifically the role of nationalist historiography in partitioning the Middle Eastern past. Students are expected to have completed previous coursework in either Middle East INTERNATIONAL STUDIES Studies or modern history, though exceptions can be made with permission of the instructor. What kind of global society will evolve in the 21st century? Linked by worldwide organizations and Other courses of interest are listed below. Full communications, yet divided by histories and ethnic descriptions of the courses may be found under the identities, people everywhere are involved in the appropriate disciplines. process of reevaluation and self-definition. oT help First-Year Studies: Art and History (p. 7), Jerrilynn students better understand the complex forces that Dodds Art History will determine the shape of the 21st century, Sarah Romanesque and Gothic: Art and Architecture at the Lawrence College offers an interdisciplinary Birth of Europe (p. 7), Jerrilynn Dodds Art approach to international studies. Broadly defined, History international studies include the dynamics of The Age of Arthur: Post-Roman Britain in History and interstate relations; the interplay of cultural, Legend (p. 8), David Castriota Art History ideological, economic, and religious factors; and the The Greeks and their Neighbors: The Hellenization of multifaceted structures of Asian, African, Latin the Mediterranean From the Homeric Age to American, Middle Eastern, and European societies. Augustus (p. 8), David Castriota Art History 60 International Studies A variety of programs abroad further extends Becoming Modern: Europe from 1760 to 1914 (p. 52), students’ curricular options in international studies. Philip Swoboda History The experience of overseas learning, valuable in Human Rights (p. 53), Mark R. Shulman History itself, also encourages more vivid cultural insight International Law (p. 53), Mark R. Shulman History and integration of different scholarly perspectives. Middle Eastern Nationalisms (p. 59), Matthew Ellis The courses offered in international studies are History listed throughout the catalogue in disciplines as Propaganda: A History of Spin (p. 57), Matthew Ellis , diverse as anthropology, art history, Asian studies, Shahnaz Rouse History economics, environmental science, geography, The Emergence of the Modern Middle East (p. 53), history, literature, politics, and religion. Matthew Ellis History The Russian Revolution (p. 54), Philip Swoboda Courses offered in related disciplines this year are History listed below. Full descriptions of the courses may be Advanced Italian: Read the Book! See the found under the appropriate disciplines. movie! (p. 62), Judith P. Serafini-Sauli Italian Romanesque and Gothic: Art and Architecture at the Beginning Italian (p. 61), Emilia Gambardella Italian Birth of Europe (p. 7), Jerrilynn Dodds Art Japanese I (p. 62), Sayuri I. Oyama Japanese History Japanese III (p. 63), Izumi Funayama Japanese First-Year Studies: Pilgrimage and Initiation (p. 10), Global Masculinities (p. 66), John (Song Pae) Cho Sandra Robinson Asian Studies Lesbian, Gay, Bisexual, and Transgender Studies Images of India: Text/Photo/Film (p. 12), Sandra Love, Sex, and Globalization (p. 65), John (Song Pae) Robinson Asian Studies Cho Lesbian, Gay, Bisexual, and Transgender Beginning Chinese (p. 18), Leihua Weng Chinese Studies Intermediate and Advanced Chinese: Conversations Chinese Identity (p. 71), Leihua Weng Literature and Readings (p. 18), Leihua Weng Chinese First-Year Studies: Japanese Literature: Ancient Global Inequalities and Financial Crises: Legal Myths to Contemporary Fiction (p. 68), Sayuri I. Approaches to the International Economic Oyama Literature System (p. 28), Jamee K. Moudud Economics First-Year Studies: States of Emergence, Stages of Black Box/White Cube: Moving Image Art In and Out Emergency (p. 68), Isabel de Sena Literature of the Cinema and Museum (p. 33), Kenneth First-Year Studies: What We Do With Words: White Film History Literature and Theory, 19th-21st Paranoid Style in Cinema (p. 33), Kenneth White Film Centuries (p. 68), Eric Leveau Literature History Literature in Translation: Divine and Human Beginning French: Language and Culture (p. 43), Eric Comedies: Dante and Boccaccio (p. 73), Leveau French Judith P. Serafini-Sauli Literature Beginning French: Language and Culture (p. 43), African Politics (p. 100), Elke Zuern Politics Megan Ulmert French Democracy and the Market (p. 101), Elke Zuern Intermediate French I: French Language and Culture Politics Through Film (p. 44), Liza Gabaston French International Political Economy: The Rise (and Fall) Intermediate French II: The Writing of Everyday Life of Neoliberal Hegemony. (p. 101), Yekaterina in French 20th-Century Literature (p. 44), Jason Oziashvili Politics Earle French Introduction to International Relations (p. 98), Intermediate French III/Advanced French: Paris, Yekaterina Oziashvili Politics Literary Capital (p. 45), Jason Earle French Presidential Power (p. 99), Samuel Abrams Politics Intermediate French I: Language Consolidation and Amandla! Power, Prejudice, Privilege, and South Introduction to Caribbean Literature (p. 44), African Human Development Under and After Claudy Delne French Apartheid (p. 105), Kim Ferguson (Kim Johnson) First-Year Studies: Introduction to Development Psychology Studies: The Political Ecology of American Muslims: History, Politics, and Development (p. 47), Joshua Muldavin Culture (p. 117), Kristin Zahra Sands Religion Geography First-Year Studies: Islam (p. 115), Kristin Zahra Sands The Geography of Contemporary China: A Political Religion Ecology of Reform, Global Integration, and Rise Beginning Russian (p. 119), Melissa Frazier Russian to Superpower (p. 47), Joshua Muldavin Intermediate Russian (p. 119), Natalia Dizenko Geography Russian Borders and Transnational Mobilities (p. 121), Parthiban Muniandy Sociology THE CURRICULUM 61

Cities of the Global South (p. 121), Parthiban opportunity to spend the second semester of their Muniandy Sociology year abroad studying at the University of Catania in Gender and Nationalism(s) (p. 124), Shahnaz Rouse Sicily. Sociology The Italian program periodically offers Temporariness and Displacement: Refugees, literature courses in Italian or in translation as part Migrants, and Aliens (p. 123), Parthiban of the literature curriculum. Among these courses Muniandy Sociology are: Images of Heaven and Hell; The Three Crowns: Advanced Beginning Spanish: Pop Dante, Petrarch, and Boccaccio; and Fascism, World Culture(s) (p. 125), Heather Cleary Spanish War II, and the Resistance in 20th-Century Italian Advanced Spanish: Coming of Age I (p. 126), Heather Narrative and Cinema. Cleary Spanish Advanced Spanish: Coming of Age II (p. 126), Heather Beginning Italian Cleary Spanish Emilia Gambardella Beginning Spanish (p. 125), Eduardo Lago Spanish Open, Seminar—Year Intermediate Spanish I: Latin America, a Mosaic of This course, for students with no previous Cultures (p. 125), Priscilla Chen Spanish knowledge of Italian, aims at giving the student a Intermediate Spanish II: Culture in the Information complete foundation in the Italian language with Age (p. 125), Eduardo Lago Spanish particular attention to the oral and written communication of everyday use and all aspects of Italian culture. The course will be conducted in Italian after the first month and will involve the ITALIAN study of all basic structures of the language—phonological, grammatical, and The study of Italian at Sarah Lawrence College offers syntactical—with practice in conversation, reading, the rigors of language study and the joys of composition, and translation. In addition to the basic immersion in one of the richest cultures of the West. Italian grammar and an array of supplementary The course of study consists of classroom, computer and Internet material, the course will also conference, and conversational components, all include texts from prose fiction, poetry, journalistic enhanced by the flexible academic structure of the prose, songs, films, eciper books, and the language College and its proximity to New York City. In the of publicity. Conference work is largely based on classroom, students learn Italian grammar, syntax, reading and writing, and the use of the language is and phonology, using sources of everyday encouraged through games and creative communication and literary texts. In conference composition. The course also has a conversation sessions—especially helpful in customizing study to component in regular workshops with the language each student’s level of fluency—students pursue assistants. Supplementary activities such as reading and writing related to topics that compel and relevant exhibits in New York City are made them. And in conversation meetings, students simply available, as possible. Credit for the course is talk with native Italians about anything of common contingent upon completing the full year, by the end interest. Individual conference projects may be as of which students attain a basic competence in all creative and diverse as is appropriate for each aspects of the language. student and can include interdisciplinary work in the Italian language. As in other disciplines, the resources of New Intermediate Italian: Modern York City enhance student experience. Opera Prose performances at the Metropolitan Opera (after Tristana Rorandelli preparatory readings from libretti), film series and Intermediate, Seminar—Year lectures, museums, and internships related to This course aims at improving and perfecting the conference work all offer ways to bring Italian to life. students’ speaking, listening, reading, and writing And for bringing students to Italy, Sarah Lawrence’s skills, as well as their knowledge of Italy’s study program in Florence maintains the small scale contemporary culture and literature. In order to and individual attention that is the mark of the acquire the necessary knowledge of Italian College, providing an exceptional opportunity to grammar, idiomatic expressions, and vocabulary, combine a yearlong academic experience with the students will be exposed to present-day Italy through cultural immersion of a homestay living the selection of modern Italian literature (e.g., short arrangement. Advanced students have the stories, poems, and passages from novels), as well as specific newspaper articles, music, and films in 62 Japanese the original language. Some of the literary works will Another course offered in a related discipline this include selections from , Gianni year is listed below. A full description of the course Rodari, Marcello D’Orta, Clara Sereni, Dino Buzzati, may be found under the appropriate discipline. Stefano Benni, , , Achille Campanile, and . In order to Literature in Translation: Divine and Human address the students’ writing skills, written Comedies: Dante and Boccaccio (p. 73), Judith P. compositions will also be required as an integral part Serafini-Sauli Literature of the course. The materials selected for the class—whether a literary text, song, or grammar exercise—will be accessible at all times to the JAPANESE students through MySLC. Research on the Web will be central to the course and will offer the basis for the weekly “Web piece,” a short paper on a particular The Japanese program includes courses in Japanese topic. Individual conference topics might include the language and Japanese literature. In beginning and study of a particular author, literary text, film, or any intermediate language course levels, students other aspect of Italian society and culture that might develop and deepen communicative skills in be of interest to the student. Conversation classes speaking, listening, reading, and writing. Students at will be held twice a week with the language all language course levels also meet weekly with a assistants. language assistant for conversation practice either individually or in small groups. The weekly lunchtime Japanese Table is a friendly gathering for casual Advanced Italian: Read the Book! conversation. Field trips to places in the New York See the movie! City area—such as the Urasenke Chanoyu Center for Judith P. Serafini-Sauli a Japanese tea ceremony or Mitsuwa Marketplace Advanced, Seminar—Fall for a taste of Japanese noodles or to browse in This course is intended for students with proficiency Kinokuniya bookstore—bring Japanese language in Italian who want to read works of Italian literature study to life. in the original, as well as to continue their work in Students may also study Japanese literature in the language. The course is a study of some modern translation in courses such as Modern Japanese Italian narratives and the films based on them. eW Literature, Spirits and the Supernatural in Japanese will read the novels as linguistic, literary, and Literature, and Reading Ōe Kenzaburō and Murakami cultural texts and examine the films they inspired as Haruki. Students with Japanese language proficiency both language, cinema, and “translation.” The texts may do readings of primary Japanese texts for and films will be chosen ot reflect a anger of issues conference work. For Sarah Lawrence students in modern Italian culture—regionalism, Sicily and interested in studying abroad in Japan, the College the mafia, ascismf and antifascism, politics and has two exchange programs: Tsuda Women’s College social representation. Examples of works are Il in Tokyo and Kansai Gaidai University in Osaka. Gattopardo, Il giardino dei Finzi-Contini, Sostiene Students may also attend other study-abroad Pereira, and Io non ho paura. We will also read some programs in Japan. film theory, particularly theories of adaptation. Class work will be supplemented by a grammar review Japanese I based on “analisi logica,” using Italian scholastic Sayuri I. Oyama texts. Conference work may explore Italian literature Open, Seminar—Year or Italian film and anc also focus on further This course is for students with no previous perfecting language skills. There will be emphasis on knowledge of Japanese. Students will develop basic writing Italian through the frequent submission of communicative skills in listening comprehension and short papers, and weekly conferences with the speaking, as well as skills in reading and writing language assistant will offer additional (katakana, hiragana, and 145 kanji) in Japanese. opportunities to speak Italian. Open to students with While classes will be devoted primarily to language advanced proficiency in Italian. practice, an understanding of Japanese grammar will also be emphasized as an important basis for continued language learning. Classes will meet three times weekly, and tutorials with a language assistant will meet once a week. THE CURRICULUM 63 Japanese II ancient Greeks and Romans, students come to appreciate them for themselves, examine the Chieko Naka continuity between the ancient and modern worlds, Intermediate, Seminar—Year and, perhaps, discover “a place to stand”—an This advanced-beginning course is for students who objective vantage point for assessing modern have completed Japanese I or its equivalent. culture. Students will continue to develop basic skills in In their first eary of study, students acquire speaking, listening, reading, and writing while proficiency in vocabulary, grammar, and syntax, with expanding their vocabulary and knowledge of the aim of reading accurately and with increasing grammar. At the end of the course, students should insight. Selected passages of ancient works are read be able to handle simple communicative tasks and in the original languages almost immediately. situations effectively, understand simple daily Intermediate and advanced courses develop conversations, write short essays, read simple students’ critical and analytical abilities while essays, and discuss their content. Classes will meet exploring ancient works in their literary, historical, three times weekly, and tutorials with a language and cultural context. Conference projects provide assistant will meet once a week. opportunities for specialized work in areas of interest in classical antiquity. Recent conference Japanese III projects include close readings of Homer’s Iliad, Izumi Funayama Aristophanes’ Clouds, Pindar’s Odes, Plato’s Republic, Intermediate/Advanced, Seminar—Year Cicero’s de Amicitia, the poetry of Catullus, and This course is for students who have completed Virgil’s Aeneid, as well as studies of modern theories Japanese II or its equivalent. The aim of the seminar of myth, Nietzsche’s Birth of Tragedy (in connection is to advance students’ Japanese language with the tragedies of Aeschylus, Sophocles, and proficiency in speaking and listening, reading Euripides), the social implications of Roman (simple essays to authentic texts), and writing in domestic architecture, and a comparison of various styles (emails, essays, and/or creative Euripides’ Hippolytus with Racine’s Phèdre. writing). Students will meet for classes and Greek and Latin will be especially beneficial orf conferences with the instructor and for weekly students interested in related disciplines, including individual tutorials with a language 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, First-Year Studies: Japanese Literature: Ancient dance, music, visual arts, and acting. Myths to Contemporary Fiction (p. 68), Sayuri I. Oyama Literature Beginning Latin Chan and Zen Buddhism (p. 116), T. Griffith Foulk Samuel B. Seigle Religion Open, Seminar—Year The Buddhist Tradition in East Asia (p. 116), T. Griffith This course provides an intensive introduction to Foulk Religion Latin grammar, syntax, and vocabulary, with a view to reading the language as soon as possible. Close reading of Vergil’s Aeneid in English will accompany LATIN intensive language study in the fall. By midsemester, students will be translating authentic excerpts of Latin poetry and prose. During the spring semester, The Sarah Lawrence College classics program while continuing to develop and refine their emphasizes the study of the languages and knowledge of Latin grammar and vocabulary, literature of ancient Greece and Rome. Greek and students will read selections of the Aeneid in Latin. Latin constitute an essential component of any humanistic education, enabling students to examine the foundations of Western culture and explore Intermediate Latin timeless questions concerning the nature of the Emily Fairey world, the place of human beings in it, and the Intermediate, Seminar—Year components of a life well lived. In studying the This course will offer students who have established literature, history, philosophy, and society of the a foundation of Latin skills a chance to read poetic 64 Latin American and Latino/a Studies and prose works from a pair of famed authors of the Other courses of interest are listed below. Full Late Roman Republic: the poems of Catullus and descriptions of the courses may be found under the Cicero's Pro Caelio. Poet and politician reveal very appropriate disciplines. different attitudes about some of the same controversial figures in Roman life during this period. Advanced Greek (p. 50), Samuel B. Seigle Greek Catullus is famed for immortalizing his mistress, (Ancient) "Lesbia," in the groundbreaking genre of Roman Beginning Greek (p. 49), Emily Fairey Greek (Ancient) neoteric poetry. This woman is traditionally Intermediate Greek (p. 50), Samuel B. Seigle Greek identified as the notorious Clodia whom Cicero, in his (Ancient) exemplary legal oration, the Pro Caelio, blames for The Greco-Roman World: Its Origins, Crises, Turning attacking his client. Through the study of these two Points, and Final Transformations (p. 71), authors, the conventions of Roman rhetoric and Samuel B. Seigle Literature poetry will be introduced. To establish context, the class will explore the literature and history of the Late Roman Republic with particular emphasis on LATIN AMERICAN AND LATINO/A the tumultuous years from the death of Sulla (78 BCE) to the death of Caesar (44 BCE). Excerpts of STUDIES other authors will be examined, including Lucretius, Caesar, and Sallust. There will be two formal The Latin American and Latino/a studies (LALS) translation exercises per semester, and students will program is devoted to the interdisciplinary develop a special topic in conference for a paper or investigation of Latin American, Caribbean, and presentation. Additional conference hours and Latino cultures, politics, and histories. Through a grammar review will be included, as necessary. variety of disciplines, students will have opportunities to explore the vibrant cultural life of Advanced Latin Latin American and Caribbean countries, as well as the experiences of the Latino communities in the Emily Fairey United States. Advanced, Seminar—Year Course offerings will include language, This course will explore the literature, history, and literature, dance, film, music, art, and other cultural politics of the Late Roman Republic, with particular expressions as a way to familiarize the students with emphasis on the tumultuous years from the death of a world that is rich in imagination, powerful in social Sulla (78 BCE) to the death of Caesar (44 BCE). impact, and defiant of the stereotypes usually Closely examining works of Catullus, Lucretius, imposed upon it. Students will also interrogate the Cicero, Caesar, and Sallust, we will consider how the complex political dynamics involved in such violent struggle for political power resulted in the processes as (post)colonialism, migration, demise of republican government and the revolution, social movements, citizenship, and the centralization of authority in the hands of one cultural politics of race, gender, sexuality, and class. individual. Class discussions and writing The histories of conquest, colonialism, development, assignments will assess the relationship between and resistance in the area also require broad inquiry intellectual views and political action during this into the often turbulent and violent realities of critical moment in Western history. Students will political economic forces. attend seminar meetings and, in addition, develop As this program is concerned with a broad set and refine their eadingr comprehension skills by of border crossings, faculty in LALS are also reading selections of the seminar texts in Latin for committed to expanding educational experiences their conference work. Reading assignments will be beyond Sarah Lawrence College. Accordingly, read in their entirety in English. Additional students are encouraged to study abroad through conference hours and grammar review will be Sarah Lawrence College programs in Cuba, Argentina, included, as necessary. Conference projects can also and Peru or with other programs in Latin America. include science and linguistics. With the permission Students will also have opportunities to explore the of the instructor, qualified students will participate borderlands closer to Sarah Lawrence College, in the Intermediate Latin seminar and complete including Latino communities in New York City and additional readings in Latin for class and conference Westchester County. work. THE CURRICULUM 65

Courses offered in related disciplines this year are were left behind. Among the Israeli parents were gay listed below. Full descriptions of the courses may be couples who had been forced to look abroad, as found under the appropriate disciplines. surrogacy is restricted to heterosexual couples in Israel. What this event also revealed are the strange First-Year Studies: Introduction to Development bedfellows that love and sex find when they travel Studies: The Political Ecology of and take up new life in the age of globalization. In Development (p. 47), Joshua Muldavin recent years, scholars have been increasingly Geography concerned with the worldwide political-economic International Political Economy: The Rise (and Fall) and technological restructuring that goes under the of Neoliberal Hegemony. (p. 101), Yekaterina name of “globalization.” Too often, however, Oziashvili Politics globalization has been figured as an abstract and all- Crossing Borders and Boundaries: The Social powerful capitalist phenomenon imposed on the rest Psychology of Immigration (p. 104), Gina of the world by American political elites and US Philogene Psychology corporations. Missing have been accounts of how Constructing Citizenship, Dismantling Hierarchies: this restructuring is experienced by people in their The Immigrant and Racial Struggle for Political daily lives, including their most intimate acts and Equality (p. 114), Luisa Laura Heredia Public practices. This course seeks to challenge the Policy binaries of proximate/distant, economic/intimate, The Art of Protest (p. 114), Luisa Laura Heredia Public and global/local by which we understand Policy globalization. Using an interdisciplinary lens drawn Advanced Beginning Spanish: Pop from anthropology, cultural studies, sociology, Culture(s) (p. 125), Heather Cleary Spanish international relations, literature, and film and Advanced Spanish: Coming of Age I (p. 126), Heather media studies, we will seek to account for the Cleary Spanish complex ways in which political-economic and Advanced Spanish: Coming of Age II (p. 126), Heather technological transformations both shape and are Cleary Spanish shaped by love, sex, and intimacy. Among the topics Beginning Spanish (p. 125), Eduardo Lago Spanish of discussion will be gay marriage, mail-order brides, Intermediate Spanish I: Latin America, a Mosaic of transnational adoption, international sex work, Cultures (p. 125), Priscilla Chen Spanish militarism, the Internet, and social media. Potential Intermediate Spanish II: Culture in the Information readings will include Symposium by Plato, A Lover’s Age (p. 125), Eduardo Lago Spanish Discourse: Fragments (1977) by Roland Barthes, The Words and Pictures (p. 148), Myra Goldberg Writing Transformation of Intimacy (1992) by Anthony Giddens, Neon Wasteland: On Love, Motherhood, and Sex Work in A Rust Belt Town (2011) by Susan Dewey, LESBIAN, GAY, BISEXUAL, AND Gay Bombay: Globalization, Love and (Be)longing in Contemporary India (2008) by Parmesh Shehani, Love TRANSGENDER STUDIES in the Time of AIDS: Inequality, Gender, and Rights in South Africa (2010) by Mark Hunter, and On the Move Lesbian, gay, bisexual, and transgender studies for Love: Migrant Entertainers and the US Military in (LGBT) is an interdisciplinary field that engages (2010) by Sealing Cheng. For conference questions extending across a number of areas of work, students will have a chance to expand upon study. Sarah Lawrence College offers students the their personal interests and learn the basics of opportunity to explore a range of theories and issues ethnographic research by conducting mini- concerning gender and sexuality across cultures, ethnography on a selected topic of their choice. categories, and historical periods. This can be Samples of past student work may be found on the accomplished through seminar course work and instructor’s faculty home page. discussion and/or individual conference research. Perverts in Groups: The Social Life Love, Sex, and Globalization of Homosexuals John (Song Pae) Cho Julie Abraham Open, Seminar—Year Open, Seminar—Fall In 2015, the issue of gay rights in Israel was thrust Contradictory assumptions about the relations of into international spotlight when 26 Israeli surrogate homosexuals to groups have dominated accounts of babies were evacuated from earthquake-devastated modern LGBT life. In Western Europe and the United Kathmandu, but their Nepalese surrogate mothers States from the late 19th century onwards, queers 66 Lesbian, Gay, Bisexual, and Transgender Studies have been presented as profoundly isolated persons, Often when scholars study gender, they focus on burdened by the conviction that they are the only women. In contrast, within this course we will ones ever to have had such feelings, when they first spotlight the lives of men who have long escaped realize their deviant desires and are immediately critical examination as members of an unmarked separated by those desires from the families and category that has stood for humanity in general. In cultures into which they were born. Yet, at the same exploring the diversity of men’s lives across the time, these isolated individuals have been seen as globe, this course will highlight the social inseparable from one another, part of a worldwide construction of masculinity; that is, rather than network always able to recognize their peers by understanding being “male” or a “man” as biological means of mysterious signs decipherable only by facts, we will view them as sociocultural constructs other group members. Homosexuals were denounced that vary not only according to time but also setting. as persons who did not contribute to society; We will see how masculinity intersects with race, homosexuality was presented as the hedonistic class, age, language, sexuality, religion, and choice of reckless, self-indulgent individualism over nationality to create various models of hegemonic sober social good. Nevertheless, all homosexuals and subordinate masculinities that co-exist and were implicated in a nefarious conspiracy, stealthily compete with one another. We will explore how, even working through their web of connections to one as masculinity operates to empower men as a group, another to take over the world—or the political they inhabit positions of power and wealth and establishment of the United States, for example, its simultaneously regulate the behavior of all men. art world, theatre, or film industries. Such Therefore, we will also discuss how drag queens, contradictions can still be seen in the battles that butch lesbians, and transgender people create their have raged since the 1970s, when queers began own complex genders (Taylor 2004) that have the seeking public recognition of their lives within power to disrupt the gender binary that, in turn, existing social institutions from the military to supports not only a white normative queer marriage. LGBT persons are routinely attacked as community and heteronormative family system but threats (whether to unit cohesion or the family), also hetero-masculinist states as part of a global intent on destroying the groups that they are capitalist system of homosocial bonding and rivalry. working to openly join. In this class, we will use Potential readings include Dude, You’re a Fag: these contradictions as a framework for studying Masculinity and Sexuality in High School (2011) by C.J. the complex social roles that queers have occupied Pascoe, Not Gay: Sex Between Straight White Men and some of the complex social worlds that they (2015) by Jane Ward, Sexual Discretion: Black have created—at different times and places and Masculinity and the Politics of Passing (2014) by shaped by different understandings of gender, race, Jeffrey McCune, “The Track of My Tears: Trans* class, ethnicity, and nationality—within the United Affects, Resonance, and PitBulls and Parolees” States over the past century and a half. Our sources (2015) by Harlan Weaver, Manly States: Masculinities, will include histories, sociological and International Relations, and Gender Politics (2012) by anthropological studies, the writings of political Charlotte Hooper, and Chih-ming Wang’s activists, fiction, and film. “Capitalizing the big man: Yao Ming, Asian America, and the China Global” (2004). For conference work, Global Masculinities students will have a chance to expand upon their personal interests and learn the fundamentals of John (Song Pae) Cho ethnographic research by conducting mini- Open, Seminar—Fall ethnography on a selected topic of their choice. What does it mean for straight white men in Samples of past student work may be found on the fraternities and the military to grab each other’s instructor’s faculty home page. penises as part of a ritual (Ward 2015)? Or for blond, “all-American” jocks to dress like “” with glasses and perform a Revenge of the Nerds skit for a Pretty, Witty, and Gay high school’s “homecoming king” contest (Pascoe Julie Abraham 2007)? Or for the National Association to Sophomore and above, Seminar—Fall feature a promotional video of Yao Ming, the first Are you ready to review your cultural map? As Chinese player in the NBA, leading a Tai-chi practice Gertrude Stein once said, “Literature—creative on a basketball court wearing his jersey literature—unconnected with sex is inconceivable. (Wang 2004)? What do these images and practices But not literary sex, because sex is a part of reveal about the diverse cultures of masculinity that something of which the other parts are not sex at exist within the United States and around the world? all.” More recently, Fran Leibowitz observed, “If you THE CURRICULUM 67 removed all of the homosexuals and homosexual things, one’s sexual orientation for marketing influence from what is generally regarded as purposes. Clearly then, a more precise understanding American culture, you would be pretty much left of both the real and novel effects of queer new with Let’s Make a Deal.” We do not have to limit media is needed. Eschewing the largely speculative ourselves to America, however. The only question is writing on sexuality and new media, this course will where to begin: In the pantheon, in prison, or “in the investigate how social media affect how queer users family”? In London, Paris, Berlin, or New York? With interact in online spaces as particular raced, the “friends of Dorothy” or “the twilight women”? classed, and gendered beings and how these There are novels, plays, poems, essays, films, and interactions shape their understandings of critics to be read, read about, or watched. There are themselves and the world. It will also explore how dark hints, delicate suggestions, positive images, these communication technologies are situated in negative images, and sympathy-grabbing larger structures of political economy and how they to be reviewed. There are high culture have the potential to remediate mass mobilization and high camp, tragedies and comedies, the good, and political action. Potential readings include the bad, and the awful to be enjoyed and assessed. Corinne Lysandra Mason’s “Tinder and humanitarian How has modern culture thought about sexuality and hook-ups: the erotics of social media racism” (2016), art, love and literature? How might we think again? Catherine Connell’s “Fashionable Resistance: Queer Conference work may be focused on a particular ‘Fa(t)shion’ Blogging as Counterdiscourse” (2013), artist, set of texts, or genre—or on some aspect of Dominique Pierre Batiste’s “‘0 Feet Away: The Queer the historical background of the materials that we Cartography of French Gay Men’s Geo-social Media will be considering. Use” (2013), Shaka McGlotten’s Virtual Intimacies: Media, Affect, and Queer Sociality (2013), and Lindsey Queer New Media O’Connor’s “‘Weird’ Sex: Identity, Censorship, and China’s Women Sex Bloggers” (2014). For conference John (Song Pae) Cho work, students will have a chance to expand upon Sophomore and above, Seminar—Spring their personal interests and learn the basics of Until recently, “queer media” called to mind bar rags ethnographic research by conducting mini- or community newsletters. With the proliferation of ethnography on a selected topic of their choice. computer-mediated communication—including cell Samples of past student work may be found on the phones, fax machines, satellite television, and the instructor’s faculty home page. Internet—queer communities around the world have seen the proliferation of multimedia conglomerates Courses offered in related disciplines this year are very much modeled on their mainstream listed below. Full descriptions of the courses may be counterparts (Gamson 2003). Not only that, as found under the appropriate disciplines. location-aware dating applications such as Tinder and Grindr provide novel opportunities for queers to The Art of Democracy: A Cultural History of the socialize outside of gay spaces, Web 2.0 has resulted United States (p. 58), Lyde Cullen Sizer History in the increased centrality of user-generated The Political and Cultural Work of Women Writers in content, including DIY porn that is pro-sex, the United States, 1790-1990 (p. 53), Lyde collaborative, and explicitly queer (McGlotten 2012). Cullen Sizer History Finally, social networking and entertainment sites Challenges to Development: Child and Adolescent such as YouTube, , and Facebook offer Psychopathology (p. 112), Jan Drucker possibilities, in previously unimaginable ways, for Psychology grassroots organizing and political struggle for First-Year Studies: Health, Illness, and Medicine in a social justice. Yet, even as the connectivity of the Multicultural Context: A Service-Learning Internet has reinvigorated hopes for radical queer Course (p. 103), Linwood J. Lewis Psychology politics, democracy, and global community, it has also fed into fears about damage to face-to-face interactions and community. For instance, “No Fats, No Fems, No Asians” is now a ubiquitous phrase on LITERATURE gay hook-up apps where white, muscular, masculinity is most prized. At the same time, Big The literature discipline introduces students to the Data gathered from our Google searches and history of written culture from antiquity to the Facebook likes is threatening to become a regular present day, as well as to methods of research and part of diffuse and opaque campaigns of social textual analysis. Course offerings cover engineering that involve guessing, among other major works in English and other languages in 68 Literature addition to literary criticism and theory. Some between) in an attempt to understand the range of courses focus on individual authors (Virgil, dramatic possibility and the human necessity of Shakespeare, Woolf, Murakami); others, on literary making theatre. genres (comedy, epic), periods (medieval, postmodern), and regional traditions (African First-Year Studies: What We Do American, Iberian). Students are encouraged to employ interdisciplinary approaches in their With Words: Literature and Theory, research and to divide their time between past and 19th-21st Centuries present, as well as among poetry, prose, drama, and Eric Leveau theoretical texts. Open, FYS—Year In this class, we will study major works of modern First-Year Studies: States of and contemporary Western literature in relation to Emergence, Stages of Emergency theoretical and philosophical texts that helped Isabel de Sena shape the way we think today. We will try to better Open, FYS—Year understand how writers felt compelled to invent new The Golden Age of Spain, a period lasting roughly 200 ways of speaking and how this fundamental change years that coincides in its middle part with the to how we relate to language also affected the way Elizabethan era, is a period of extraordinary we think. At the same time, literary texts have creativity that reflects, in yriadm ways, the become a crucial source of inspiration for philosophy wondrous changes taking place—scientific, and other disciplines such as linguistics and economic, social, philosophical, literary, and . We will study this dialogue between artistic—as the world becomes truly globalized for creators and theorists, trying to better understand the first time and the early modern era is born. In how they inspire and illuminate each others. Plato Spain, these two centuries span the emergence and and Homer, Benjamin and Baudelaire, Heidegger and lexicalization of a number of new genres: the Hölderlin, Barthes and Balzac, Deleuze and Proust, picaresque; the Moorish and pastoral romances; the Derrida and Poe, and Simone de exemplary tale; the sonnet form; a wondrous Beauvoir are some examples of the dialogues that theatrical tradition, la nueva comedia—synchronous we will discuss. Other authors studied will include with Elizabethan theatre—that produced Walt Whitman, Gustave Flaubert, Emily Dickinson, playwrights like Lope de Vega, Tirso de Molina, and James Joyce, , and Tony Morrison. Over Calderón; and of course, Cervantes (playwright, the course of the year, we will focus on the art of short-story writer, novelist). We will explore the essay writing and acquire a better understanding of smaller entities “on the ground” that merge and major literary and philosophical concepts in order to become more keen readers of all texts. Although the bloom into this explosion of creativity. In the first semester, we will focus primarily on the emergence focus of this class is primarily on literature, our of a theatrical tradition as medieval fuses into seminar discussions will also allow us to have modern; in the second, on the prose and poetry that conversations on important issues related to leads us to a reading of Cervantes’ Don feminism and women studies, race, and gender. Quixote...naturally. First-Year Studies: Japanese First-Year Studies: Text and Literature: Ancient Myths to Theatre Contemporary Fiction Joseph Lauinger Sayuri I. Oyama Open, FYS—Year Open, FYS—Year This course explores the relation between the play as From deities procreating the islands of Japan to a written text and the play as staged event. More than frog who saves Tokyo from mass destruction, this any other literary form, drama depends upon a course is an introduction into the richness and specific place and time—a theatre and its diversity of Japanese literature in English audience—for its realization. The words of a play are translation. During the fall semester, we will read the fossils of a cultural experience: They provide the Japanese literature from its earliest written records decipherable means by which we can reconstruct to the 19th century, including ancient myths, poetry, approximations of the living past. With this goal in epic tales of imperial courtiers and samurai mind, we will read and examine texts from ancient warriors, folktales, and drama (bunraku and noh Athens and medieval Japan to Elizabethan London plays). During the spring semester, we will read and contemporary New York (with many stops in literature from the 20th century to the present day, THE CURRICULUM 69 including short stories and novels by writers such as Shakespeare and the Semiotics of Natsume Soseki, Kawabata Yasunari, Enchi Fumiko, Performance Abe Kobo, Oe Kenzaburo, Murakami Haruki, and Ogawa Yoko. Films, historical texts, and critical Joseph Lauinger essays will complement these readings to help us Open, Lecture—Year deepen our interpretative approaches. As a First-Year The performance of a play is a complex cultural Studies seminar, the course will emphasize the event that involves far more than the literary text development of each student’s critical skills in upon which it is grounded. First, there is the theatre reading, writing, and discussion, as well as itself, a building of a certain shape and utility within independent conference work. a certain neighborhood of a certain city. On stage, we have actors and their training, gesture, staging, music, dance, costumes, possibly scenery and First-Year Studies in Literature: lighting. Offstage, we have the audience, its makeup, Texting and Intertexting and its reactions; the people who run the theatre William Shullenberger and the reasons why they do it; and finally the social Open, FYS—Year milieu in which the theatre exists. In this course, we No literary text stands . New texts build study all these elements as a system of signs that themselves out of creative engagements and convey meaning (semiotics)—a world of meaning dialogues with other texts. A literary tradition builds whose life span is a few hours but whose itself out of interchanges between writers and other significances are ageless. The plays of Shakespeare writers, between writers and readers. This course are our texts. Reconstructing the performances of will study the intertextual give and take among those plays in the England of Elizabeth I and James I ancient and more modern writers. We will study is our starting place. Seeing how those plays have clusters of books where we can see the textual been approached and re-envisioned over the dynamics of interchange and extension at work, centuries is our journey. Tracing their elusive linking “modern” texts with “classics” of earlier meanings—from within Shakespeare’s Wooden O to times. We will consider the ways in which writers in their adaptation in contemporary film—is our orkw . the last two centuries, particularly writers of color, have established their own creative authority and Epic Vision and Tradition From the cultural centrality—in part by creative reading and Odyssey to Walcott’s Omeros re-envisioning several of the most powerful texts of Western literature: Homer’s Iliad, Dante’s Inferno, William Shullenberger Shakespeare’s , and Milton’s Paradise Open, Lecture—Year Lost. The cultural authority and imaginative power The epic is a monumental literary form, an index to invested in such “canonical” stories make literary the depth and richness of a culture, and the tradition an imagined place for experimentation with test of a writer’s creative power. Encyclopedic in its ideas of self and society and language, for the inclusiveness, the epic reflects a culture’s origins extension of the sense of self and community into and projects its destiny, giving definitive form to its new forms and possibilities. Among the modern vital mythology and problematically asserting and writers whose works we will study as creative and questioning its formative values. This course on the transformative responses to the “classics” will be: emergence and development of the epic genre Derek Walcott, LeRoi Jones (), Gloria developed in the Western tradition will be organized Naylor, Aldous Huxley, Mary Shelley, Charles around four central purposes. First, we will study the Chesnutt, and . These modern writers’ major structural, stylistic, and thematic features of various strategies of appropriation, subversion, and each epic. Second, we will consider the cultural transformation will vivify and focus our sense of the significance of the epic as the collective or heroic still-challenging imaginative and social power of the memory of a people. Third, we will examine how “classical” texts. These instances of literary each bard weaves an inspired, yet troubled, image of interchange should provide us with a way of thinking visionary selfhood into the cultural and historical about literary tradition as liberating, dynamic, and themes of the poem. Fourth, we will notice how the pluralistic. epic form changes shape under changing cultural and historical circumstances and measure the degree to which the influence of epic tradition becomes a resource for literary and cultural power. First term: Homer, Odyssey; Virgil, Aeneid; Dante, 70 Literature Inferno; Milton, Paradise Lost. Second term: Pope, The Hermann Hesse: Siddartha; Thomas Mann: Death in Rape of the Lock; Wordsworth, The Prelude; Eliot, The Venice and Other Stories; Franz Kafka: The Judgment, Waste Land; Joyce, Ulysses; Walcott, Omeros. The Hunger Artist; Alfred Döblin: Berlin Alexanderplatz; Ernst Jünger: excerpts from Storm of History and Fantasy: An Steel; Remarque: All Quiet on the Western Front; Irmgard Keun: The Artificial Silk Girl; Berthold Brecht: Introduction to Cultural Studies The Three Penny Opera; Anna Seghers: The Seventh Una Chung Cross. In the spring semester, the seminar will focus Open, Lecture—Spring on postwar German literature after 1945 and, This cultural studies course explores a selection of especially, the question of how writers and literature, film, video, performance art, installation intellectuals have dealt with the Holocaust, the media art, and sculpture, with an emphasis on National Socialist and Communist dictatorships, and feminist and postcolonial artists. The course covers German reunification since 1990. Films such as The a variety of methods of cultural criticism, as well as Murderers Are Among Us, Sophie Scholl, Germany Pale key texts in Marxist, postcolonial, and feminist Mother, The Lives of the Others, and Good-bye Lenin theory. These diverse materials are organized around will give students visual representations of the most the central theme of the entanglement of history important cultural and historical issues in Germany and fantasy, which appears in contexts as varied as since 1945. Novels and plays include: Heinrich Böll: urban development, war, migration, exile, Group Portrait With Lady; Günther Grass: Crabwalk; environmental disaster, spiritual journey, Wolfgang Borchert: The Man Outside; Max Frisch: psychological disintegration, haunting, and love. Andorra; Jurek Becker: Jacob the Liar; Monika Maron: These are -myths for our time. Pavel’s Letters; Schlink: The Reader; Sebald: Austerlitz; Jenny Erpenbeck: Go, Went, Gone; Antje Modern German Literature and Ravic Strubel: Under Snow. German-speaking Film From 1871 to the Present students may read some of these works in the original German and will meet with the German Roland Dollinger assistant, Nike Mizelle, once a week to improve their Open, Seminar—Year speaking and writing skills in German. Their In this course, students will learn about the major conferences will also be conducted in German. cultural and historical developments in Germany since the late 19th century through an in-depth analysis of many masterpieces of modern German English: History of a Language literature (novels, stories, plays) and film. Germany Ann Lauinger has seen five different political systems since its Open, Seminar—Year modern inception as a nation state in 1871: an What happened to English between Beowulf and aristocracy ruled by the German emperor, the Virginia Woolf? What’s happening to it now? The Weimar Republic, the Nazi dictatorship, a divided first semester of this course introduces students to Germany with a Socialist government in the East, some basic concepts in linguistics, tracing the and the creation of a reunified Germany after the fall evolution of pronunciation, vocabulary, and grammar of the Berlin Wall in 1990. While this is NOT a history from Old English (Anglo-Saxon), through the Middle course, students will be required to accompany their English of Chaucer, to the Early Modern English of analyses of German literary and cinematic Shakespeare and the 18th century, to an English that masterworks with a reading of primary and we recognize—for all of its variety—as our own. secondary historical and philosophical sources. In Second semester turns from the history of English the fall semester, we will cover the period between and the study of language’s change over time to the 1871 and 1945; in the spring semester, the emphasis varieties of contemporary English and a will be on postwar German literature and film since sociolinguistic approach to the ways in which 1945. This seminar is open to all students, and no language differs from one community of speakers to expertise in German history or literature is required; another. Among the topics for second semester are: however, students will be asked to read a novel or pidgins and creoles, American Sign Language, play every week, some of which may be several- language and gender, and African American English hundred pages long. You must be a dedicated reader! (Ebonics). This course is intended for anyone who The preliminary reading list includes the following loves language and literature. Students may choose works of literature and film orf the fall of 2017: their conference work from a range of topics in Florian Illies: 1913; Theodor Fontane: On Tangled either language or linguistics or both. Paths; Rilke: The Diary of Malte Laurids Brigge; THE CURRICULUM 71 The Greco-Roman World: Its geopolitics and nationalism. The course will be Origins, Crises, Turning Points, and divided into two parts. We will read classical texts in the fall semester and will move onto modern and Final Transformations contemporary materials in the spring. This course Samuel B. Seigle encourages comparative studies and literary Open, Seminar—Year theories. Taught in English; no Chinese language This course invites the serious student to penetrate prerequisite. the tides of time in order to uncover what really lies behind the making of ancient Greece and Rome from their earliest times to their final transformations. Frankenstein Unbound The aimed-for result is a more deeply informed Fiona Wilson understanding of their direct contribution to us; Open, Seminar—Year namely, the classical tradition that still shapes our Like Walter Benjamin’s image of the angel of history, thinking and exercises our imagination. The Mary Shelley’s Frankenstein plunges forward into the methodologies employed will be derived as much future while looking back—anxiously? from the fields of anthropology and sociology as longingly?—toward the past. This course takes from those of political science, economics, Shelley’s 1818 novel as its core text for an archaeology, and religious studies. The particular investigation of writing as an activity as troubled by topics pursued will be set through joint decision by mythic origins as it is fired by utopian dreams. In the class members and the teacher but anchored always first semester, we focus closely on Frankenstein in the reality of what these two gifted peoples itself, a highly intertextual work. We trace the experienced—or believed to be their experience. To influence of such literary ancestors as Milton and further this goal, all conferences will be in small Rousseau and Shelley’s own scandalous real-life groups, and all papers will be written as joint parents, the proto-feminist Mary Wollstonecraft and productions rather than as individual conclusions. A anarchist William Godwin. We join the party at Lake model for this procedure will be established in the Geneva, with Percy “Victor” Shelley, Claire Clairmont, first two weeks of the fall semester through the mad, bad Lord Byron, and Byron’s unfortunate class’s multidisciplinary reading, in translation, of personal doctor, John Polidori (initiator of the first important selections from Homer’s Iliad. vampire story in English). In the spring, we expand our reading with a wide-ranging exploration of Gothic literature and its utterly modern obsession Chinese Identity with the past. We look at the origins of the genre and Leihua Weng its chief characteristics from its 18th-century Open, Seminar—Year origins through the 20th century. Likely authors: “Chinese identity” as an organic cultural composite Walpole, Radcliffe, Lewis, Austen, C. Bronte, is important to the “Self-Other” positioning in Stevenson, Wilde, James, Rhys, and Morrison. cultural exchanges and transmissions and has taken various expressions in classical and modern Chinese literature. This course will examine the trajectory Before Jane: 18th-Century Women that Chinese identity took in Chinese literature from Writers earliest times, through different imperial periods, to James Horowitz the modern era. Through an engagement with Sophomore and above, Seminar—Fall poetry, historical writings, fictions, and films,e w will By the time of her death in 1817, Jane Austen could chronically explore various literary issues concerning boast that novels by women had “afforded more the formation and transformation of Chinese extensive and unaffected pleasure than those of any identity. For example, we will examine the role of other literary corporation in the world.” A mere early Chinese poetry in shaping a shared cultural century and a half earlier, it was still a rarity for a identity in a partial parallel with Homeric epics. We woman to publish under her own name. This course will also pay attention to how foreign traces the emergence of professional female elements—often in the form of female demons, authorship from the end of the Renaissance to the spirits, and ghosts—were gradually accepted into heyday of Romanticism, along the way introducing society and households and granted certain social students to the most illustrious and intriguing and cultural status in classical novels and folklores. members of Austen’s “literary corporation.” We will The interplays between empire/state and gender in divide our time between authors who remain literature and in films will be part of our eadingr and somewhat familiar today (Aphra Behn, Mary discussion on Chinese identity as discourses of Wollstonecraft) and those who have been unjustly 72 Literature neglected (Eliza Haywood, Frances Burney). The J.R.R. Tolkien, C.S. Lewis, and focus will be on the individual lives, personalities, Medievalism and accomplishments of these remarkable artists and intellectuals; and the texts we cover will be as Timothy Miller eclectic as the authors themselves, ranging from Open, Seminar—Fall lyric poems to Gothic novels, sex comedies to “In a hole in the ground there lived a hobbit.” So, the political jeremiads, fantasy literature to travel story goes, originated the whole of Middle Earth, writing, autobiographies to pseudo-Austenian beginning with this single line that J.R.R. Tolkien, a courtship narratives. We may even, as a coda to the professor of medieval literature at Oxford, scribbled course, read a little of Austen’s own early work. on a student’s exam paper while procrastinating during a marathon grading session. Indeed, long before they had achieved international fame for co- Acting Up: Theater and inventing the modern genre of fantasy literature, Theatricality in 18th-Century both Tolkien and his friend and colleague C.S. Lewis England had devoted their professional lives to the rigorous James Horowitz study of medieval literature, culture, and language. Open, Seminar—Fall This course aims to introduce you to some of the From to burlesque, farce to musical major texts of medieval English literature through theater, Restoration and 18th-century England the varied lenses that Tolkien and Lewis can provide helped to shape the modern conventions of dramatic us in both their formidable scholarship and their art and popular entertainment. These periods also popular creative works. In addition to reading introduced an early form of celebrity culture, thanks academic essays on medieval literature by Tolkien in part to the rise of England’s first professional and Lewis, we will examine the medieval female actors and the reign of a king, Charles II, who underpinnings of The Hobbit, The Silmarillion, and loved theater and all-too-public extramarital sex. At one of the Narnia books—and then consider the the same time, the increasing prominence of drama peculiarly medieval character of Lewis’s science raised unsettling questions about the nature and fiction, as ellw as his final novel, the mythic retelling potential of performance, not only as a form of Till We Have Faces. Works of medieval literature that artistic practice but also as an element of social and we will read—in Tolkien’s own translations political life: What if our putatively God-given whenever possible—include the Old English heroic identities (king and subject, wife and husband) were poem Beowulf; several key primary texts for our merely factitious roles that we could adopt or understanding of Old Norse mythology; and later discard at will? This course will consider how Middle English masterworks such as Sir Gawain and authors and theatrical professionals from the 1660s the Green Knight, Pearl, Sir Orfeo, and selections from to the 1790s imagined the potential of performance Chaucer's Canterbury Tales. There are now multiple to transform—or sometimes to reinforce—the academic journals dedicated to the study of Tolkien status quo, with a look ahead to Hollywood films that and Lewis, and each has achieved a truly global have inherited and adapted the legacy of 18th- popularity. Even so, as we study their fictions in century entertainments. Our emphasis will be on connection with medieval narrative, we may well plays, with a survey of major Restoration and 18th- wonder how the interest of a pair of unassuming century comedies (some of the funniest ever scholars in a body of literature read by so few people written), parodies, afterpieces, heroic tragedies, could have led to, for example, the launch of multiple imperial pageants, sentimental dramas, and Gothic multibillion dollar film rf anchises in the 21st century. spectacles by authors such as William Wycherley, Our answers will become clear only when we George Etherege, John Dryden, Aphra Behn, Susanna consider Tolkien and Lewis in the wider context of Centlivre, John Gay, Henry Fielding, and Hannah “medievalism,” the interest of later eras in reviving, Cowley. We will also consider nondramatic writing on reappropriating, repurposing, and reimagining the performance and theatrical culture, including 18th- Middle Ages. If Tom Shippey is correct to declare century acting manuals, racy theatrical memoirs, Tolkien “The Author of the Century,” it may and a “masquerade novel” by Eliza Haywood, as well nevertheless be important to ask in which century as films yb directors such as Howard Hawks, Billy Tolkien and Lewis’s works truly belong. Wilder, and Hal Ashby. THE CURRICULUM 73 Literature in Translation: Divine some of their work in the past: Tom Stoppard’s and Human Comedies: Dante and , Arcadia, The Invention of Love, and are all, in one or another sense, Boccaccio history plays. Setting a play in the past can create Judith P. Serafini-Sauli and exploit dramatic irony (the audience knows the Open, Seminar—Fall history to come, the protagonists usually cannot), Within two generations, two Tuscans produced but there is no single reason for setting a play in the extraordinary works of literature: Dante’s Comedia, past. For some playwrights, history provided the written in the first two decades of the 14th century, grandest kind of spectacle, a site of splendid and and Boccaccio’s Decameron, written in the middle of terrible (hence, dramatic) events. Their treatment of the same century. Dante’s Divine Comedy is a kind of the past may not depict it as radically discontinuous summa of medieval culture, a prism through which with the present or necessarily different in kind. he filters classical and medieval civilization and Other playwrights may make the past setting little melds them in one magnificent and totalizing more than an allegory of the present; Shaw’s Caesar Christian vision that embraces art, literature, and Cleopatra (1898) seems to be a celebration of philosophy, science, history, and theology. Like all Victorian liberal imperialism. The playwright may set concepts of Heaven and Hell, it is a repository for work in the past as part of an urgent analysis of the dreams of ecstasy, fantasies of horror, and, most origins of his own situation: Michael Frayn’s best importantly, moral guidance. It is the magnificent play, Benefactors, was written in 1984 but set in the vision of a profoundly religious and sophisticated late 1960s and attempts to locate the causes of the Roman Catholic of the 13th and 14th centuries in then-recent collapse of political liberalism, seeking Italy. A generation later, Boccaccio—a great admirer in history an answer that could be found only there. and imitator of Dante, as well as one of the first But another of Frayn’s plays with a historical setting, commentators of the Comedia (He is sometimes , does not necessarily focus on credited with having added the adjective “Divina” to something irretrievably past; its interests may rather a work Dante simply called “Comedia”), writes his be concentrated on a living problem of undiminished Decameron, a magisterial collection of short stories urgency. Peter Weiss’s Marat/ Sade, arguably the that represent an astonishing variety of human most successful work of 1960s political theatre, was experience in a vast range of narrative registers. In a history play focused on what then seemed the contrast to Dante’s “Divine Comedy,” Boccaccio’s explicit and unbreakable link between late 18th- work has been characterized as a “human” century politics and the politics of the present. A comedy—earthbound, humorous, indulgent and recent play by Alan Bennett, , seeks dramatically different from the work of his admired to illuminate something about the political present predecessor. In this course, we will read both works, by examining a changing fashion in the teaching of concentrating on salient cantos and stories to try to history. In this course, we will read a number of understand the genius of these two extraordinary works of dramatic literature, all of them history authors, as well as some of their cultural origins, the plays in one sense or another, written for various new mercantile world of the 14th century, and the purposes, and of generally very high quality. We may enormous changes they effected in Western or may not discover anything common to all history literature. plays, but we will read some good books.

History Plays: Dramatic Irony and Literary London Historical Time Fiona Wilson Fredric Smoler Open, Seminar—Fall Open, Seminar—Fall In Canto XI of Don Juan, Byron’s hapless hero stands Some of the greatest dramatic literature is set in an on a hill outside London, enthusiastically meditating era preceding its composition. This is always true of upon the splendid freedoms of the city before him: a form of dramatic literature that we usually call by “Here laws are all inviolate; none lay/Traps for the a different name (Plato’s dialogues); but it is also traveller; every highway’s clear:/Here—’, he was true of some of the most celebrated drama, plays interrupted by a knife,/With,—‘Damn your eyes! your that we identify with the core of the Western money or your life!’” Here, one might add, comic theatrical tradition—much of Greek tragedy, for reversal works though the brilliant compression of example; and it is very famously true of some of the real and ideal images of Britain’s capital city. This greatest work by Shakespeare, Schiller, and Corneille. course reads London as, at once, the origin and Some of the best contemporary playwrights also set object of its own myths. How have Londoners, from 74 Literature the 19th century on, seen their own city? How has many of the ageless questions that humans have the density of urban life been represented in the asked about their physical environment. For written word? How do London writers imagine their instance, the Middle English “textbook” known as the home now, in the age of globalization and Brexit? Lucydarye poses and answers questions such as the Among the topics we explore are: the city as fantasy, following: Why is the ocean salty? How can we the city as nightmare; streetwalkers and street- explain the changing phases of the moon? “Howe sweepers; flash, antc , and rhyming slang; money; farre is it to walke frome hence unto paradise and crowds, theatre, journalism; quiet places; anarchists; from hence into hell?” This course will explore some reading and public transportation; the immigrant of the medieval precursors to modern experimental city; the gay city; psychogeography; boom and bust; science but with special reference to how these and what happens next? Possible authors: William protoscientific discourses influenced medieval Blake, Thomas de Quincey, John Keats, Charles literary texts, including those by Geoffrey Chaucer Dickens, Henry Mayhew, Robert Louis Stevenson, and John Gower. We will see how mainstream George Gissing, , Virginia Woolf, T.S. medieval disciplines that modernity rejects as Eliot, Graham Greene, Sam Selvon, Colin MacInnes, pseudoscience—astrology, alchemy, dream theory, Muriel Spark, Michael Moorcock, Monica Ali, Martin and so on—in fact relied heavily on complex Amis, Zadie Smith, Iain Sinclair, and others. mathematical models and frequent experimentation and verification. As we read widely in the genres of High Romantic Poetry: Blake to the romance, dream vision, encyclopedia, bestiary, and more, we will discuss the possible differences Dickinson between magic and science in the Middle Ages and, Neil Arditi above all, examine the metaphysical implications of Open, Seminar—Spring what C. S. Lewis famously called the “discarded In this course, we will explore the work of seven image” of the medieval cosmos as an elegant and major poets writing in English between the French ordered whole. The medieval understanding of the Revolution and the American Civil War. One of the universe, as we will see, was a powerful tool for goals of the course is to demonstrate the ways in meaning-making and deserves more attention than which modern poetry originated in this period. In the we usually grant to obsolete models of how the wake of the French Revolution, Blake, Wordsworth, universe works. Reading medieval science and and Coleridge invented a new kind of medieval literature in this way can also give us a autobiographical poetry that internalized the myths better understanding of the relationship between that they had inherited from literary and religious contemporary fiction and science. After all, given traditions. The poet’s inner life became the enough time, our own scientific paradigms are likely inescapable subject of the poem. We will trace the to be superseded by others; but they are no less impact of this innovation on two subsequent significant now for our understanding of our place in generations of poets: the second generation English the universe. Romantics, Shelley and Keats; and the fountainheads of the visionary strain in American poetry, Whitman and Dickinson. Our preeminent goal will be to Global Intertextualities appreciate each poet’s—indeed, each Bella Brodzki poem’s—unique contribution to the language. Our Sophomore and above, Seminar—Year understanding of literary and historical trends and This course provides exposure to a wide array of influences will emerge largely from our close, contemporary global writing from locations such as imaginative reading of texts. Nigeria, China, the former Yugoslavia, France, Columbia, Ireland, Zimbabwe, United Kingdom, Tunisia, and the United States. Readings consist of Medieval Sci-Fi? Medieval Science literary texts written in the last decade, originally in and Medieval Fiction English as well as in translation, though students Timothy Miller able to read these texts in their original languages Open, Seminar—Spring will be encouraged to do so. Primary attention will be In spite of our growing understanding of the directed to the particular stylistic, formal, and intellectual sophistication of medieval science and thematic features of the individual works, as we technology, in many popular cultural representations keep in mind the dynamic relation between local the Middle Ages remain a period associated with contexts and transnational space—the complex darkness and ignorance, especially in scientific circuits by which languages and cultures circulate matters. But medieval science had ready answers to and exchange in a global economy. Thus, we will THE CURRICULUM 75 interrogate notions such as “cosmopolitan,” “world,” and topics in poetry or choose an altogether “global,” and “postcolonial” as modes of different focus, depending on their interests and intertextuality and consider what “comparative needs. literature” means today. The Marriage Plot: Love and Studies in the 19th-Century Novel Romance in Classic American and Ilja Wachs English Fiction Sophomore and above, Seminar—Year Nicolaus Mills This course entails an intensive and close textual Sophomore and above, Seminar—Fall encounter with the novelistic worlds of the 19th- “Reader, I married him. A quiet wedding we had,” century realist tradition, the first fictional aditiontr Charlotte Bronte’s Jane Eyre exclaims in the to accept social reality as the ultimate horizon for concluding chapter of Jane Eyre. Jane’s wedding may human striving. The 19th-century novels that we will be quiet, but the steps leading up to her marriage study are all intensely critical of the severe with the man who once employed her as a governess limitations to human wholeness and meaning posed are the opposite of quiet. By the time of Jane Eyre, by the new social world that they were confronting. we are far from the early marriage-plot novel in At the same time that they accept the world as a which suitors, proposals, and comic setting and boundary for human life, they seek to misunderstandings pave the way for a joyous find grounds for transcending its limitations. We will wedding. This course is designed to follow the explore the tensions in these novelists’ works evolution of the marriage plot in classic 19th- and between accepting the world as given and seeking to 20th-century American and English fiction. The transcend it. At the same time, we will try to course begins with Jane Austen’s Emma and ends understand why—in spite of a century and a half of with Sylvia Plath’s The Bell Jar. In between, we will great historical and cultural change—these novels read six paired novels: Nathaniel Hawthorne’s The continue to speak to the issues posed by the human Scarlet Letter and George Eliot’s Middlemarch, condition with such beauty, depth, and wisdom. We Charlotte Bronte’s Jane Eyre and Henry James’s The will read the works of novelists such as Tolstoy, Portrait of a Lady, and Edith Wharton’s The House of Dostoevsky, Balzac, Stendhal, Eliot, Austen, Dickens, Mirth and D. H. Lawrence’s Sons and Lovers. Twain, and Goethe. The Music of What Happens: Adam’s Dream: Romantic Poetry Alternate Histories and and Beyond Counterfactuals Ann Lauinger Sophomore and above, Seminar—Fall Fredric Smoler As a cultural movement, Romanticism radically Sophomore and above, Seminar—Fall transformed the notion of what it means to be alive, The alternate history imagines a different present or re-envisioning the human in relation to what critic future originating in a point of divergence from our Keith Sagar called “the energies, powers, presences actual history—a branching point in the past. of the nonhuman cosmos.” Beauty and the creative Alternate history is both an increasingly popular imagination assumed new importance, and poetry form of genre fiction and a decreasingly disreputable rivaled philosophy as a key to the big questions. This form of analysis in history and the social sciences. course centers on a close reading of three While fictions of alternate history were, until very poets—the high-romantic Keats, the symbolist/ recently, only a subgenre of science fiction, two modernist Rilke, and the 21st-century American celebrated American “literary” novelists, Louise Glück—whose work allows us to trace and Michael Chabon, have within the last four years written well-regarded novels of alternate history Romanticism and some of its developments to the present day. We’ll also read shorter excerpts from (The Plot Against America and The Yiddish poets roughly contemporary with those three: Policeman’s Union). Similarly, while counterfactual Giacomo Leopardi, Tennyson, and . In historical speculation is at least as old as Livy, discussing poems and writing about them, we aim to academic historians have until recently scorned the deepen our understanding by paying consistent practice as a vulgar parlor game; but this is attention to language and technique and to sharpen beginning to change. In the early 1990s, Cambridge our ability to articulate that understanding. Students University Press and Princeton both published may do conference work on a wide range of poets intellectually rigorous books on alternate history and counterfactual analysis in the social sciences; 76 Literature Cambridge more recently published a volume Along with Johnson, Boswell, and other titans of analyzing alternate histories of World War II; and in 18th-century prose such as Edward Gibbon, David 2006, the University of Press published an Hume, and Adam Smith, we will consider interesting collection of counterfactual analyses international writing on imperialism and the slave titled, “Unmaking the West.” This course will trade (Olaudah Equiano, the abolitionist poets), the examine a number of fictions of alternate history, French and American revolutions (Edmund Burke), some reputable and some less reputable, and also and women’s rights (the bluestocking circle, Mary look at some of the academic work noted above. We Wollstonecraft). We will also sample the period’s shall attempt to understand what it might mean to fiction (Horace Walpole’s lurid Gothic novel, The think seriously about counterfactuals, about why Castle of Otranto, and Frances Burney’s coming-of- fictions of and academic works on alternate history age saga, Evelina), comic drama (Oliver Goldsmith’s have become significantly more widespread, and uproarious She Stoops to Conquer), and personal about what makes an alternate history aesthetically writing (Burney’s diary, Boswell’s shockingly candid satisfying and intellectually suggestive rather than London Journal), as well as Celtic literature (James ham-fisted, flat, and profoundly unpersuasive. Macpherson), visual art (Joshua Reynolds), and the poetic innovations that laid the groundwork for Join the Club: Conversation, Romanticism (Thomas Gray). We may also glance at Johnson’s reception and influence over the Criticism, and Celebrity in the centuries, for instance in the work of Virginia Woolf. British Enlightenment James Horowitz The Mirror and the Rose: Sophomore and above, Seminar—Spring Before the 18th century was dubbed the Shakespeare's Poetry in Context Enlightenment, it was widely known as the Age of Ann Lauinger Criticism—a term that captures the growing Sophomore and above, Seminar—Spring cultural influence, especially in the British Isles, of The reading for this course is the poetry that secular commentary on society, politics, morality, Shakespeare wrote apart from the stage: his and the arts. Suddenly everyone was a critic, eager sonnets, his three narrative poems (“Venus and to express his or her opinions in one of the many Adonis,” “The Rape of Lucrece,” and “A Lover’s sites for conversation and debate that were Complaint”), and the puzzling lyric commonly known blossoming across England, Ireland, and Scotland. as “The Phoenix and the Turtle.” Shakespeare was These included institutions with brick-and-mortar fully immersed in his culture, with strong roots in locations—coffeehouses, taverns, and private the busy commercial theatre of 16th- and 17th- clubs—but also the virtual forums created by the century London and perhaps some acquaintance increasingly inescapable medium of print. (Parallels with figures at court. Like his plays, Shakespeare’s to our own social-media-crazed era are easy to poems show a knowledge of current trends in draw.) With the Age of Criticism came a new kind of writing; and, as in everything he wrote, Shakespeare celebrity: the public intellectual. No man of letters transformed any genre or style to which he turned was more renowned for his powers of criticism, his attention, stretching its possibilities. To provide conversation, and what he called “clubbability” than context for Shakespeare’s poems, we’ll read several Samuel Johnson (1709-84), the central focus of this other poets: the Italian Petrarch (1304-74), seminar. In addition to compiling the first English grandfather of the love sonnet, with his translators dictionary of note, Johnson was a gifted and hugely Wyatt and Surrey; and Sidney, Spenser, and Marlowe, influential literary theorist, poet, political three contemporaries of Shakespeare. Our commentator, biographer, and satirist, as well as a discussions will include technical issues of meter legendarily pithy maker of small talk and a master of and form, as well as the emotional, intellectual, and the English sentence. His overbearing but strangely cultural work that the poems do. Students may do lovable personality was preserved for posterity by his conference work in a wide range of literary topics, friend and disciple, James Boswell, who in 1791 including those unrelated to the course. published the greatest and most entertaining of all literary biographies, The Life of Johnson, which records, among much else, Johnson’s near-blindness, probable Tourette’s Syndrome, and selfless love of cats. Now, after the tercentenary of his birth, this course will reappraise Johnson’s legacy within a broad cultural survey of the British Enlightenment. THE CURRICULUM 77 Portraits of the Artists: paraphrase. We will seek to paraphrase them Modernists Writing the Self anyway, or account as best we can for the meanings they create out of the meanings they evade. Our Fiona Wilson central task will be to appreciate and articulate the Sophomore and above, Seminar—Spring unique strengths of each of the poems that we “What does the human mind do/What does human encounter through close, imaginative reading and nature do.” Should these lines from Gertrude Stein’s informed speculation. “Identity a Poem” be understood as statements or questions? Such indeterminacy reflects Stein’s own complex interest in identity. It also resonates with Marxist Aesthetic Theory and New the larger problem of self-representation among Media Art Practices modernist writers. This course addresses the various Una Chung ways in which anglophone modernists sought to deal Intermediate, Seminar—Year with the challenge of writing themselves. How did This course opens in the contemporary milieu of modernists react to 19th-century notions of the digital media, which are paradoxically both author? What did Eliot mean, and can we believe him hyperorganized in their penetration of infrastructure when he insists that “[t]he progress of an artist is a and inchoate as a cultural formation. Not for the first continual self-sacrifice, a continual extinction of time, scholars have been torn between articulating a personality”? What are we to make of the extent to rupture and tracking a continuity. We begin our which Woolf writes herself into her fiction, even as study of new media by turning to early 20th-century she disparages life writing as a “bastard, an impure critical debates that raised the question of “What is art”? While we focus mostly on select works by literature?” as a way of inquiring into the nature and Joyce, Yeats, Woolf, and Eliot, we will also explore extent of social transformation caused by the some American texts. Topics of discussion may development of capitalism. The function of criticism include aestheticism, androgyny, advertising, was also implicitly recontextualized in political automatic writing, the use of masks, contemporary terms at the boundary between art and society. theories of psychology and psychoanalysis, Taking these historical literary discourses as points technologies of mass reproduction, and, of course, of departure, we further explore the particular literary experiment. significance of studying new media in American culture today. We consider a broad range of both new Nine Modern Poets: Dickinson to media arts and commercial digital applications, with Ashbery a special focus on how to write art and cultural criticism involving new media. The first semester of Neil Arditi the course focuses on Marxist literary theory, while Intermediate, Seminar—Year the second semester emphasizes the aesthetics and This course will focus on some of the most art practices of contemporary digital culture. influential poets writing in English in the 20th century, with particular emphasis on the first half of Other courses of interest are listed below. Full the century—a period of self-proclaimed descriptions of the courses may be found under the “modernism” in the arts. We will begin our readings appropriate disciplines. in the 19th century, however, with the poetry of Emily Dickinson, whose style and procedure so vividly Images of India: Text/Photo/Film (p. 12), Sandra anticipate later developments in poetry. Other Robinson Asian Studies authors will include Thomas Hardy, W. B. Yeats, Intermediate Italian: Modern Prose (p. 61), Tristana Robert Frost, Wallace Stevens, T. S. Eliot, Hart Crane, Rorandelli Italian Elizabeth Bishop, and . Some of the Pretty, Witty, and Gay (p. 66), Julie Abraham Lesbian, poems that we will be reading are (or may seem) Gay, Bisexual, and Transgender Studies accessible on a superficial level, presenting The New Elements: Mathematics and the challenges to interpretation only on closer Arts (p. 79), Philip Ording Mathematics inspection; other poems—most notably, the poems First-Year Studies: From Homer to Plato (p. 93), of Stevens, Eliot, Crane, and Ashbery—present Abraham Anderson Philosophy significant challenges at the most fundamental level First-Year Studies: The Hebrew Bible (p. 115), of comprehension. The major prerequisite for this Cameron C. Afzal Religion course is a willingness to grapple with literary Readings in Christian Mysticism: Late difficulty and with passages of poetry that e,ar at Antiquity (p. 118), Cameron C. Afzal Religion times, wholly baffling or highlyesist r ant to 78 Mathematics Gender and Nationalism(s) (p. 124), Shahnaz Rouse mathematician Giordano Bruno, of early modernity, Sociology was burned at the stake by the Inquisition for his First-Year Studies in Theatre: History and “antireligious” interest in the infinite and “unholy” Histrionics: A History of Western belief in a heliocentric system. Galileo nearly Theatre (p. 127), Stuart Spencer Theatre suffered the same outcome. Newton and Leibniz Fiction: True or False? (p. 150), Stephen O’Connor simultaneously, yet independently, invented Writing calculus, bridging the mathematical divide between the discrete and the continuous and harnessing the power imbedded in the concept of the infinitesimally small. The 19th-century German scholar Georg Cantor MATHEMATICS was the first ot study Infinity with all of the usual rigor associated with other mathematical inquiries, Whether they had any interest in mathematics in though most of his contemporaries discredited his high school, students often discover a new visionary efforts. Over the ages, writers, painters, appreciation for the field at Sarah Lawrence College. musicians, and other artists have taken their turn in In our courses—which reveal the inherent elegance an effort to understand and depict infinity in its of mathematics as a reflection of the orldw and how diverse forms. Though the approach of this first-year it works—abstract concepts literally come to life. studies seminar will be decidedly mathematical, we That vitality further emerges as faculty members will not hesitate to explore the notion of infinity rf om adapt course content to fit student needs, all of its multidisciplinary perspectives. Prior study emphasizing the historical context and philosophical of the calculus or more advanced mathematics is underpinnings behind ideas and theories. not a prerequisite for this course, but a willingness By practicing rigorous logic, creative problem to explore and enjoy such hefty concepts is expected. solving, and abstract thought in small seminar discussions, students cultivate habits of mind that An Introduction to Statistical they can apply to every interest. With well- developed, rational thinking and problem-solving Methods and Analysis skills, many students continue their studies in Daniel King mathematics, computer science, philosophy, Open, Lecture—Fall medicine, law, or business; others go into a range of Correlation, regression, statistical significance, and careers in fields such as insurance, technology, margin of error. You’ve heard these terms and other defense, and industry. statistical phrases bantered about before, and you’ve seen them interspersed in news reports and First-Year Studies: Everything research articles. But what do they mean? And why are they important? And what exactly fueled the (and Nearly Nothing) About failure of statistical polls and projections leading up Infinity to the 2016 US presidential election? An introduction Daniel King to the concepts, techniques, and reasoning central Open, FYS—Year to the understanding of data, this lecture course “There is a concept that corrupts and upsets all focuses on the fundamental methods of statistical others. I speak not of Evil, whose limited realm is analysis used to gain insight into diverse areas of that of ethics; I refer to The Infinite.” So wrote Jorge human interest. The use, misuse, and abuse of Luis Borges, the highly influential, 20th-century statistics will be the central focus of the course, and Argentine writer, though Borges was not alone in his specific opicst of exploration will be drawn from fascination with the subject matter. Indeed, the experimental design, sampling theory, data analysis, concept of infinity has been a virtual leitmotif in the and statistical inference. Applications will be history of intellectual thought. The pre-Socratic considered in current events, business, psychology, philosopher Zeno voiced concern over paradoxes politics, medicine, and other areas of the natural and involving infinity as elatr ed to physical motion, social sciences. Statistical (spreadsheet) software paradoxes that would not be fully resolved until the will be introduced and used extensively in this advent of “the calculus.” In the later Greek era, course, but no prior experience with the technology provided an elegant proof of the infinitude of is assumed. Conference work will serve as a prime numbers; and Archimedes, the greatest complete practicum of the theory learned in lecture: applied mathematician of antiquity, recognized Students working closely in small teams will infinity as a natural extension of the finite through conceive, design, and fully execute a small-scale limiting processes. Italian friar, poet, physicist, and research study. This lecture is recommended for THE CURRICULUM 79 anybody wishing to be a better-informed consumer satellites zip around the Earth, transmitting and of data and strongly recommended for those receiving signals to our cell phones. The calculus planning to pursue graduate work and/or research in was invented to develop a language to accurately the natural sciences or social sciences. describe and study the change that we see. The Mathematical prerequisite: basic high school algebra ancient Greeks began a detailed study of change but and geometry. were scared to wrestle with the infinite; so it was not until the 17th century that Isaac Newton and The New Elements: Mathematics Gottfried Leibniz, among others, tamed the infinite and gave birth to this extremely successful branch of and the Arts mathematics. Though just a few hundred years old, Philip Ording the calculus has become an indispensable research Open, Lecture—Spring tool in both the natural and social sciences. Our This lecture will explore the bearing of modern study begins with the central concept of the limit mathematical ideas on 20th-century Western and proceeds to explore the dual of differentiation creative and performing arts. Euclid’s collection of and integration. Numerous applications of the theory geometric propositions and proofs, entitled The will be examined. For conference work, students may Elements, is an archetype of logical reasoning that, choose to undertake a deeper investigation of a since antiquity, has had a broad influence beyond single topic or application of the calculus or conduct mathematics. The non-Euclidean revolution in the a study in some other branch of mathematics. This 19th century initiated a radical reconception of not seminar is intended for students interested in only geometry but also mathematics as a whole. We advanced study in mathematics or science, students will investigate, on the one hand, mathematical preparing for careers in the health sciences or content as a source of new forms of expression, engineering, and any student wishing to broaden and including non-Euclidean geometry, the fourth enrich the life of the mind. Prerequisites: successful dimension, set theory, functions, networks, topology, completion of trigonometry and pre-calculus. and probability. On the other hand, we will study Students concerned about meeting the course mathematical practice and the artists and writers prerequisites are encouraged to contact , intentionally or not, reflect modern instructor as soon as possible. mathematical attitudes in an attempt to break with the past. While this lecture does not aim for a comprehensive survey of the entire last century, we Calculus II: Further Study of will investigate a sequence of case studies, Motion and Change including: Russian Suprematist art; the Bauhaus Nick Rauh school in Western European architecture and design; Open, Seminar—Fall and Spring in Western music; OuLiPo, “a secret This course continues the thread of mathematical laboratory of literary structures” in post-war French inquiry following an initial study of the dual topics of literature; and the origins of in differentiation and integration (see Calculus I course 1960-70s North America, among others. This course description). Topics to be explored in this course assumes no particular expertise with mathematics include the calculus of exponential and logarithmic or cultural history. Course readings and a program of functions, applications of integration theory to art and performance viewings, both in lecture and geometry, alternative coordinate systems, and power off ampus,c will establish a basis for investigating series representations of functions. For conference the relevance of fundamental mathematical work, students may choose to undertake a deeper concepts to modern literature and the arts. Group investigation of a single topic or application of the conferences will provide practice for students, calculus or conduct a study in some other branch of working with such mathematical concepts as they mathematics. This seminar is intended for students relate to particular artistic practices. interested in advanced study in mathematics or science, students preparing for careers in the health Calculus I: The Study of Motion sciences or engineering, and any student wishing to broaden and enrich the life of the mind. The theory and Change of limits, differentiation, and integration will be Nick Rauh briefly eviewr ed at the beginning of the term. Open, Seminar—Fall Prerequisite: one year of high-school calculus or one Our existence lies in a perpetual state of change. An semester of college-level calculus. Students apple falls from a tree; clouds move across expansive farmland, blocking out the sun for days; meanwhile, 80 Mathematics concerned about meeting the course prerequisites and direction, and proceed to vector functions, their are encouraged to contact the instructor as soon as derivatives (gradient, divergence, and curl), and possible. their integrals (line integrals, surface integrals, and volume integrals). The inverse relationship between Discrete Mathematics: A Bridge to derivative and integral appearing in single-variable calculus takes on new meaning and depth in the Advanced Mathematics multivariable context, and a goal of the course is to Philip Ording articulate this through the theorems of Green, Gauss, Intermediate, Seminar—Fall and Stokes. These results will be of particular Your voice will produce a mostly continuous sound interest to students pursuing physics, engineering, signal when you read this sentence out loud. As it or economics, where they are widely applicable. appears on the page, however, the previous sentence Students will gain experience developing is composed of 79 distinct characters, including mathematical models through conference work, letters and a punctuation mark. Measuring which will culminate in an in-depth application of patterns—whether continuous or discrete—is the seminar ideas to a mathematical model in the raison d'être of mathematics, and different branches natural, formal, or social sciences, based on student of mathematics have developed to address the two interest. Prerequisite: successful completion of sorts of patterns. Thus, a course in calculus treats Calculus II or the equivalent (a score of 4 or 5 on the motion and other continuously changing functions. Calculus BC Advanced Placement exam). In contrast, discrete mathematics addresses problems of counting, order, computation, and logic. We will explore these topics and their implications Mathematical Modeling II: for mathematical philosophy and computer science. Differential Equations and Linear The form of this seminar will be that of a Algebra (mathematical) writing workshop. We will work Philip Ording collaboratively to identify and reproduce the key Intermediate, Seminar—Spring formal elements of mathematical exposition and At the center of many mathematical models, one proof as they appear in both mathematical literature often finds a differential equation. Newton’s laws of and each other's writing. This seminar is designed motion, the logistic model for population growth, for students interested in advanced mathematical and the Black-Scholes model in finance are all study and highly recommended for students with an examples of models defined yb a differential interest in computer science, law, logic, or equation; that is, an equation in terms of an philosophy. Some prior study of calculus is highly unknown function and its derivatives. Most recommended. differential equations are unsolvable; however, there is much to learn from the tractable examples, Mathematical Modeling I: including first-order equations and second order Multivariable Calculus linear equations. Since derivatives are themselves linear approximations, an important approach to Philip Ording differential equations involves the algebra of linear Intermediate, Seminar—Fall transformations, or linear algebra. Building on the It is difficulto t overstate the importance of study of vectors begun in Mathematical Modeling I, mathematics for the sciences. Twentieth century linear algebra will occupy a central role in the polymath John von Neumann even declared that the course, with topics that include linear independence, “sciences do not try to explain, they hardly even try Gaussian elimination, eigenvectors, and eigenvalues. to interpret, they mainly make models. By a model is Students will gain experience developing meant a mathematical construct which…describes mathematical models through conference work, observed phenomena.” This two-semester sequence which will culminate in an in-depth application of will introduce students to the basic mathematical seminar ideas to a mathematical model in the ingredients that constitute models in the natural natural, formal, or social sciences, based on student and social sciences. This first oursec in the sequence interest. Prerequisite: Mathematical Modeling I or the will concentrate on extending the concepts and tools equivalent (college-level course in multivariable developed in single-variable calculus to work with calculus). multiple variables. Multivariable calculus is a natural setting for studying physical phenomena in two or three spatial dimensions. We begin with the notion of a vector, a useful device that combines quantity THE CURRICULUM 81 Abstract Algebra: Theory and The Emergence of the Modern Middle East (p. 53), Applications Matthew Ellis History American Muslims: History, Politics, and Daniel King Culture (p. 117), Kristin Zahra Sands Religion Advanced, Seminar—Spring First-Year Studies: Islam (p. 115), Kristin Zahra Sands In pre-college mathematics courses, we studied the Religion underlying methodology, concepts, and applications Gender and Nationalism(s) (p. 124), Shahnaz Rouse of basic algebra. We appointed letters of the Sociology alphabet to abstractly represent unknown quantities and translated real world (and often complicated) problems into simple equations whose solutions, if they could be found, held the key to greater MODERN AND CLASSICAL understanding of the situation at hand. Fine, but algebra does not end there. Advanced algebra LANGUAGES AND LITERATURES examines sets of various types of objects (matrices, polynomials, functions, rigid motions, etc.) and the At Sarah Lawrence College, we recognize that operations that exist on these sets. The approach is languages are, fundamentally, modes of being in the axiomatic: One assumes a small number of basic world and uniquely reveal the way that we exist as properties, or axioms, and attempts to deduce all human beings. Far from being a mechanical tool, other properties of the mathematical system from language study encourages self-examination and these few properties. Such abstraction allows us to cross-cultural understanding, offering a vantage study, simultaneously, all of the various structures point from which to evaluate personal and cultural satisfying a given set of axioms and identify both assumptions, prejudices, and certainties. Learning a their commonalties and their differences. Specific new language is not about putting into another topics to be covered include groups, actions, verbal system what you want or know how to say in isomorphisms, symmetries, permutations, rings, and your own language; rather, it is about learning by fields and their various applications. Prerequisite: listening and reading and by gaining the ability to Calculus I and Discrete Mathematics or other think in fundamentally different ways. evidence of successful preparation for advanced The College offers seven modern and two study in mathematics; permission of the instructor is classical languages and literatures. Students may required. take Chinese, French, German, Italian, Japanese, Russian, and Spanish from beginning to advanced levels that equally stress the development of communicative skills such as speaking, listening MIDDLE EASTERN AND ISLAMIC comprehension, reading, and writing, as well as the STUDIES study of literature written in these languages in Europe, Africa, Asia, and the Americas. We also offer Greek (Ancient) and Latin at the beginning, Classes from disciplines such as art history, intermediate, and advanced levels, emphasizing the economics, geography, history, politics, religion, and exploration of ancient texts in their original sociology comprise the classes available within this historical, political, artistic, and social contexts and cross-disciplinary path. encouraging an assessment of ancient works on their own terms as a means of elucidating both Courses offered in related disciplines this year are timeless and contemporary human issues and listed below. Full descriptions of the courses may be concerns. found under the appropriate disciplines. As is the case for all seminars at Sarah Islamic Art and Society (p. 7), Jerrilynn Dodds Art Lawrence College, our language classes are capped History at 15. Students have unparalleled opportunities to Romanesque and Gothic: Art and Architecture at the engage with the language in and out of Birth of Europe (p. 7), Jerrilynn Dodds Art class—including individual and group conferences, History weekly meetings with language assistants in small First-Year Studies: Pilgrimage and Initiation (p. 10), groups, language clubs, and language lunch tables. Sandra Robinson Asian Studies Our proximity to New York City offers terrific Middle Eastern Nationalisms (p. 59), Matthew Ellis opportunities to encounter the cultures and History languages that we teach—through lectures, exhibits, plays, films, opera, and many other cultural 82 Music events that are readily available. Conference work in Languages offered include: a language class provides an opportunity for • Chinese students to pursue their own particular interest in • Classics the language. Student conference projects are • French exceptionally diverse, ranging from reading or • German translation, internships, or work on scholarly or • Greek (Ancient) creative writing to listening to music, watching • Italian films, or the xte ended study of grammar. In Greek • Japanese (Ancient) and Latin courses, beginning students • Latin acquire in one year a solid foundation in grammar, • Russian syntax, and vocabulary. Equivalent to three courses • Spanish at other colleges and universities, one year of Greek (Ancient) or Latin at Sarah Lawrence College empowers students to read ancient texts with precision and increasing facility. At the intermediate MUSIC and advanced levels, students refine their linguistic abilities while analyzing specific ancient authors, The music program is structured to integrate theory genres, or periods—often in comparison to later and practice. Students select a combination of artists, writers, theorists, or critics. component courses that together constitute one full The interdisciplinary approach across the course, called a Music Third. A minimal Music Third curriculum at Sarah Lawrence College also means includes four components: that students can take their study of language to 1. Individual instruction (instrumental conference work for another class; for example, performance, composition, or voice), the reading primary texts in the original Spanish for a central area of study around which the rest of class on Borges and math, studying Russian montage the program is planned or 20th-century Japanese cinema for a class on film 2. Theory and/or history (see requirements history, or performing German lieder or Italian opera below) in voice class or Molière in a theatre class. The 3. A performance ensemble (see area language faculty also offer literature courses in requirements below) translation, so that students can choose to combine 4. Concert attendance/Music Tuesdays (see literature study with conference work in the original requirements below) languages. We also sponsor an annual journal of The student, in consultation with the faculty, plans translation, Babel, which invites submissions from the music program best-suited to his or her needs across the College. and interests. Advanced students may, with faculty Finally, our open curriculum encourages consent, elect to take two-thirds of their course of students to plan a semester or an entire year abroad, study in music. and a large percentage of our students spend their junior year in non-English-speaking countries. In addition to our long-established programs in Lecture and Seminars Florence, Catania, Paris, and Cuba, the College has recently initiated study-abroad programs in The following lecture and seminar with conferences Barcelona, Peru, and Tokyo. There are also two are offered to the College community and constitute summer programs: German Studies, Art and one-third of a student’s program—or they may be Architecture, and Dance in Berlin and Translation taken as a component in one of the performing-arts Studies in Buenos Aires. Our study-abroad programs Third programs (Music, Dance, and Theatre). are usually based on a concept of “full immersion,” including experiences such as study at the local university, homestays, and volunteer work in the Cross-Cultural Listening country. We also send students to many non-Sarah Niko Higgins Lawrence College programs all over the world. Open, Lecture—Fall This course will explore the relationship of listening, music, and sound across different cultural and historical contexts. Recent scholarship on listening 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 CURRICULUM 83 inform contemporary understandings of music and as a component in one of the performing-arts Third sound. Drawing from cultural theory, research from programs (Music, Dance, or Theatre). See the field of sound studies, and ethnographic case COMPONENTS, below, for specific equirr ements for studies from ethnomusicology and anthropology, we students taking Advanced Theory. will understand key concepts of listening with specific musical and sonic examples. Course units Music, Mind, and Meaning: The may include technologies of listening, listening as an Perception and Cognition of Music impetus for empathy and to stimulate political Kevin McKenna action, strategies for listening to cultural and Open, 3-credit seminar—Fall musical difference, and music and sound as tools for As early as Pythagoras and Aristoxenus, humans torture and for healing. Individual class sessions may have tried to characterize and explain how music is include sound technologies such as the phonograph understood, processed, and endowed with meaning and the MP3; soundscapes; music therapy; and the despite seeming to have no obvious semantic listening contexts of individual genres such as content. As we have come to learn more about Iranian pop, Buddhist chant, Balinese Gamelan, human cognition in general, our engagement with muzak, and EDM. Participation in the Gamelan music has been explored with much greater Angklung Chandra Buana (Balinese music ensemble) understanding of the intersecting aspects of our is strongly encouraged. This course may be counted nature as biological organisms that impact our for either humanities or social science distribution cognition of music—from our segmentation of audio credit. It may also be taken as a semester-long streams, to our conceptualization of musical objects component. No prior experience in music is and tropes, to the role that gesture plays in our necessary. experiences of “motion” in music. This course will survey several major areas of music cognition and Ecomusicology: Music, Activism, perception. We will explore how modern insights into and Climate Change cognition can inform analyses of compositions from Niko Higgins various historical periods, primarily from the Open, Seminar—Spring Western concert-hall tradition. Students taking the This course looks at the intersections of music, course as a component in one of the performing arts culture, and nature. We will explore music in nature, Third programs (Music, Dance, or Theatre) will music about nature, and the nature of music in the complete regular weekly readings and/or analytical human experience. We will study how artists and responses. For students taking the course as a three- musicians are using music and sound to address credit seminar, the weekly readings and analytical climate change by surveying important trends in the exercises will be supplemented with at least one in- young field of ecomusicology, such as soundscape class presentation and two additional analytical studies, environmental musical criticism, acoustic essays (on topics to be assigned). The ability to read ecology, and animal musicalities. Themes will range music is preferred but not required. from music vs. sound and the cultural construction of nature to aurality and the efficacy of sonic Components activism. Class sessions may include Appalachian coal mining songs, indigenous music from the Arctic, Individual Instruction art music composition, soundscapes, field Arranged by audition with the following members of recordings, birdsong, soundwalks, and musical the music faculty and affiliate artists: responses to environmental crises such as Hurricane Katrina and the nuclear accident in Fukushima, Composition—Chester Biscardi (fall), Paul Kerekes, Japan. Participation in the Faso Foli (West African Patrick Muchmore, John Yannelli percussion) ensemble is strongly encouraged. This Guitar (acoustic), Banjo, and Mandolin—William course may be counted as either humanities or social Anderson science credit. It may also be taken as a semester- Guitar (/)—Glenn Alexander long component. No prior experience in music is Bass (jazz/blues)—Bill Moring necessary. Harpsichord and Fortepiano—Carsten Schmidt (spring) THREE-CREDIT SEMINAR—The following seminar —Chester Biscardi (fall), Paul Kerekes, Bari without conferences is offered to the College Mort, Carsten Schmidt (spring) community and constitutes three credits of a Piano (jazz)—Billy Lester student’s program. This seminar may also be taken 84 Music Voice—Hilda Harris, Eddye Pierce-Young, Wayne Piano Auditions and Placement Sanders, Thomas Young Flute—Roberta Michel faculty encourages students to prepare —James Smith two contrasting works that demonstrate the Clarinet—Igor Begelman student’s musical background and keyboard Bassoon—James Jeter technique. Piano auditions enable the faculty to —Jon Owens place the student with the appropriate teacher in Trombone - Jen Baker either an individual piano lesson or in the Keyboard —Andrew Bove Lab, given his/her current level of preparation. Percussion—Matt Wilson (drum set) Percussion—Ian Antonio (mallet) Acoustic and Auditions and Placement Harp—Mia Theodoratus The guitar faculty encourages students to prepare —Sung Rai Sohn two contrasting works that demonstrate the Viola—Daniel Panner student’s musical background, guitar technique, Violoncello—James Wilson and, for jazz and blues, improvisational ability. Guitar Contrabass—Mark Helias auditions enable the faculty to place the guitarist The director of the music program will arrange all with the appropriate teacher in either an individual instrumental study with the affiliate artist faculty guitar lesson or in the Guitar Class. members who teach off ampus.c In all cases, Composition Lessons individual instruction involves consultation with members of the faculty and the director of the The student who is interested in individual music program. Instructors for instruments not instruction in composition must demonstrate an listed above will also be arranged. appropriate background. Lessons and Auditions Theory and Composition Program Beginning lessons are offered only in voice and piano. A limited number of beginning acoustic guitar Theory I, Theory II, and Advanced Theory—including lessons are offered based on prior musical their historical studies corollaries—make up a experience. All other instrumentalists are expected required theory sequence that must be followed by to demonstrate a level of proficiency on their all music students unless they prove their instruments. In general, the music faculty proficiency in a given area. Entry level will be encourages students to prepare excerpts from two determined by a diagnostic exam, which will be contrasting works that demonstrate their musical administered immediately after the Music background and technical abilities. Auditions for all Orientation Meeting that takes place during the first instruments and voice, which are held at the day of registration. beginning of the first eekw of classes, are for placement purposes only. Theory I: Materials of Music Paul Kerekes , Bari Mort Vocal Auditions, Placement, and Juries Component The voice faculty encourages students to prepare This introductory course will meet twice each week two contrasting works that demonstrate the (two 90-minute sessions). We will study elements of student’s musical background and innate vocal music—such as pitch, rhythm, intensity, and skills. Vocal auditions enable the faculty to place the timbre—and will see how they combine in various singer in the class most appropriate for his/her musical structures and how these structures current level of vocal production. Students will be communicate. Studies will include notation and ear placed in either an individual voice lesson (two half- training, as well as theoretical exercises, hour lessons per week) or in a studio class. (There rudimentary analyses, and the study of repertoire are four different studio classes, as well as the from various eras of Western music. Hearing and seminar, Self Discovery Through Singing). Voice Singing is taken concurrently with this course. This juries at the end of the year evaluate each student’s course is a prerequisite to the Theory II: Basic Tonal progress. Theory and Composition and the Advanced Theory sequence. THE CURRICULUM 85 Theory II: Basic Tonal Theory and be given to harmony and harmonic progression Composition through analysis and memorization of triads, extensions, and alterations, as well as substitute Paul Kerekes , Patrick Muchmore chords, re-harmonization, and back cycling. We will Component look at and the superposition of various As a skill-building course in the language of tonal hybrid chords over different bass tones and other music, this course covers diatonic harmony and harmonic structures. We will study and apply all of voice leading, elementary counterpoint, and simple the above to their characteristic and stylistic genres, forms. Students will develop an understanding including , modal, free, and progressive jazz. through part writing, analysis, composition, and The study of rhythm, which is possibly the single aural skills. The materials of this course are most important aspect of jazz, will be a primary prerequisite to any Advanced Theory course. Survey of focus, as well. We will also use composition as a way Western Music is required for all students taking to absorb and truly understand the concepts Theory II who have not had a similar history course. discussed. Prerequisite: Theory II: Basic Tonal Theory and Composition. With Advanced Theory, students are required to take either one yearlong seminar or two semester-long seminars in music history, which include: Jazz Advanced Theory: Orchestration History; Cross Cultural Listening (fall); Music, Mind, and Score Study and Meaning: The Perception of Cognition of Music Patrick Muchmore (fall); The Modern : Evolutions and Component Styles; Ecomusicology: Music, Activism, and Climate Although this course will be important for Change (spring); The Modern : Evolutions , it is predicated on the conviction that and Styles (spring); Monteverdi to Monteverdi learning more about the capabilities of (spring). instruments—both individually and in combination—is invaluable to the appreciation of Advanced Theory: Advanced Tonal music for anyone. Of course, a composer needs to Theory and Analysis learn the timbral palettes of various instruments, as well as how to write idiomatically for them; but Paul Kerekes performers, theorists, and historians benefit Component enormously, as well. They learn both why some This course will focus on an analysis of tonal music, musical choices were necessary, but also why some with a particular emphasis on chromatic harmony. choices are especially clever or even astonishing. Our goal will be to quickly develop basic The first semester will focus on basic characteristics understanding and skill in this area, and then to and some extended techniques of the primary refine them in the analysis of ompletc e movements orchestral instruments and will include and works. Our repertoire will range from Bach to considerations and examples for orchestral and Brahms, and we will try to incorporate music that chamber literature. The second semester will add a class participants might be studying in their lessons few more advanced and/or less-standard or ensembles. Prerequisite: Successful completion of instruments—such as the harp, guitar, and the required theory sequence or an equivalent synthesizer—but will primarily focus on extensive background. score study with an eye toward varied approaches to orchestration. Examples will include works from the Advanced Theory: Jazz Theory and Baroque era to the present day. All Harmony students will compose small excerpts for solo Glenn Alexander instruments and chamber groups as each Component instrument is introduced. For composers, the first- This course will study the building blocks and semester project will be an arrangement of part of concepts of jazz theory, harmony, and rhythm. This an assigned piano piece for full orchestra; the final will include the study of the standard modes and project will be a relatively brief original composition scales, as well as the use of melodic and harmonic for large chamber group or full orchestra. Non- minor scales and their respective modals systems. It composition students will have the option to either will also include the study and application of do those projects or substitute with relatively brief diminished and augmented scales and their role in papers, analyzing the orchestration in pieces chosen harmonic progression, particularly the diminished from a list provided by the instructor. chord as a parental structure. An in-depth study will 86 Music Advanced Theory: 20th-Century 20th-Century Compositional Theoretical Approaches: Post- Techniques Tonal and Paul Kerekes Patrick Muchmore Component Component Composers have been exploring new avenues for This course will be an examination of various creating and organizing their music beyond a theoretical approaches to music of the 20th traditional tonal construct since the turn of the 20th century—including post-tonal, , textural, century. As we will discover, some composers relate minimalist, and pop/rock music. Our primary text to the past by extending those techniques into a new will be Joseph Straus’s Introduction to Post-Tonal realm; others firmly attempt to establish procedures Theory; but we will also explore other relevant texts, that disregard the history of compositional methods including scores and recordings of the works that precede them. This course is a workshop in the themselves. This course will include study of the art of composition, with a focus on new approaches music of Schoenberg, Webern, , Ligeti, to writing that composers devised during the late Bartók, Reich, , Nine Inch Nails, Corigliano, 19th century to present times. We will examine in and Del Tredici, among others. Prerequisite: Theory II: detail significant works by a wide variety of major Basic Tonal Theory and Composition. 20th- (and 21st-) century composers: beginning with the first inklings of Modernism in Debussy, Wagner, and Schoenberg; stopping by a myriad of resulting Hearing and Singing genres, such as Neoclassicism in Stravinsky and Jacob Rhodebeck Minimalism with ; and finishing off with Component very recent compositions by established and This class focuses on developing fluency with the emerging composers from across the globe. Since rudiments of music. It is the required aural corollary this class focuses heavily on compositional to Theory I: Materials of Music. As students begin to techniques through the act of composing, it is explore the fundamental concepts of written expected that students have or will develop a fluency theory—reading notes on the staff, interpreting in notation, preferably with Sibelius or Finale. The rhythm—Hearing and Singing works to translate class will culminate in a reading session of your final these sights into sounds. The use of solfège helps in work by live performers. Students should have taken this process, as ear, mind, and voice begin to Theory I: Materials of Music or its equivalent. understand the relationship between the pitches of the scale. Rhythm drills help solidify a sense of rhythm and a familiarity with rhythm patterns. In- Music Technology Courses: Studio for class chorale singing supports this process. All Electronic Music and Experimental incoming students will take a diagnostic test to Sound determine placement. This class also fulfills het performance component of the music program for Introduction to Electronic Music those beginning students who are not ready to participate in other ensembles. and Music Technology John A. Yannelli Component Sight-Reading for The Sarah Lawrence Electronic Music Studio is a Instrumentalists state-of-the art facility dedicated to the instruction Sungrai Sohn and development of electronic music composition. Component The studio contains the latest in digital audio This course is open to all instrumentalists who are hardware and software for synthesis, recording, and interested in developing techniques to improve their signal processing, along with a full complement of sight-reading skills. Groups from duets to vintage analog synthesizers and tape machines. will be formed, according to level, and will meet once Beginning students will start with an introduction to a week. A sight-reading “performance” will be held the equipment, basic acoustics and principles of at the end of each semester. studio recording, signal processing, and a historical overview of the medium. Once students have acquired a certain level of proficiency with the equipment and material—usually by the second semester—focus will be on preparing compositions that will be heard in concerts of electronic music, THE CURRICULUM 87 student composers’ concerts, music workshops, and Music of the 20th century and beyond. The course open concerts. Permission of the instructor is involves participation in listening, reading, and required. discussion, including occasional quizzes about and/ or written summaries of historical periods. Recording, Sequencing, and Presentations are required during the second term. This component is required for all students taking Mastering Electronic II: Basic Tonal Theory and Composition and is John A. Yannelli also open to students who have completed the theory Component sequence. This course will focus on creating electronic music primarily using software-based Digital Audio Workstations. Materials covered will include MIDI, Jazz History ProTools, Digital Performer, Logic, Reason, Ableton Glenn Alexander Live, MaxMsp, Traction, and elements of Sibelius and Component Finale (as connected to media scoring). Class Jazz music of all styles and periods will be listened assignments will focus on composing individual to, analyzed, and discussed. Emphasis will be placed works and/or creating music and designing sound on instrumental styles and performance techniques for various media such as film, dance, and that have evolved in the performance of jazz. Skills in interactive performance art. Students in this course listening to and enjoying some of the finer points of may also choose to evolve collaborative projects the music will be enhanced by the study of elements with students from those areas. Projects will be such as form, phrasing, instrumentation, presented in class for discussion and critique. instrumental technique, and style. Special emphasis Permission of the instructor is required. will be placed on the development of modern jazz and its relationship to older styles. Some topics: , King Oliver, , roots and Studio Composition and Music development of the Big Band sound, Fletcher Technology Henderson, , , lineage of John A. Yannelli pianists, horn players, evolution of the rhythm Component section, , , , Thelonius Students work on individual projects involving Monk, Miles Davis, , , be- aspects of music technology including, but not bop, , jazz of the ’60s and ’70s, fusion and limited to, works for electro-acoustic instruments, jazz rock, jazz of the ’80s, and modern trends. The live and/or prerecorded; works involving interactive crossover of jazz into other styles of modern music, performance media–laptop ensembles; Disklavier; such as rock and R&B, will be discussed, as will the and improvised or through-composed works. Open to influence that modern concert music and world a limited number of advanced students who have music has had on jazz styles. This is a two-semester successfully completed Studio for Electronic Music class; however, it will be possible to enter in the and Experimental Sound and are at or beyond the second semester. This is one of the music history Advanced Theory level. Permission of the instructor is component courses required for all Advanced Theory required. students (see above).

Music History Classes The Modern String Quartet: Evolutions and Styles Survey of Western Music Patrick Muchmore Chester Biscardi, Carsten Schmidt Component—Fall Component This course will begin with the origins of the string This course is a chronological survey of Western quartet form in the Classical and Romantic eras and music from the Middle Ages to the present. The will then explore the many “-isms” of the 20th and course is designed to acquaint the student with 21st centuries as they manifested themselves in that significant compositions of the Western musical format. The course will function as both a history tradition, as well as to explore the cyclical nature of course—introducing the biographies of many music that mirrors philosophical and theoretical composers, as well the evolution of the most ideas in Ancient Greece and how that cycle appears important stylistic trends of the modern and every 300 years: the of the 14th century, Le contemporary eras—and as a music literature nuove musiche of the 17th century, and the New course—acquainting the student with seminal 88 Music string quartets and unsung classics of the genre. In the secular and privileged world of the court of addition to the usual common-practice suspects, Mantua to directing musical worship at St. Mark’s in students will be introduced to the lives and works of Venice and eventually returning to the secular Béla Bartók, , Gloria Coates, sphere by being an engine of early commercial Anton Webern, Ruth Crawford-Seeger, Sofia opera. We will also have an opportunity to examine Gubaidulina, Per Nørgård, Ben Johnston, Joan Tower, important aspects of his artistic evolution by , and others. The evolution of many styles comparing the youthful innocence and immediacy of will be explored, including spectralism, serialism, his L’Orfeo to the cynicism and wisdom of his late microtonalism, eclecticism, minimalism, and work, L’Incoronazione di Poppea. In addition, we will brutalism. attend a number of performances of his music in New York City and invite some professional stage The Modern Symphony: Evolutions directors and singers to share their insights into the Italian master. Permission of the instructor is and Styles required. Patrick Muchmore Component—Spring This course will begin with the origins of the Cross-Cultural Listening symphonic form in the Classical and Romantic eras, Niko Higgins and will then explore the many “-isms” of the 20th Component—Fall and 21st centuries as they manifested themselves in See full course description under Lecture and that format. The course will function as both a Seminars. history course—introducing the biographies of many composers, as well as the evolution of the Ecomusicology: Music, Activism most important stylistic trends of the modern and and Climate Change contemporary eras—and as a music literature course—acquainting the student with seminal Niko Higgins and unsung classics of the genre. In Component—Spring addition to the usual common-practice suspects, See full course description under Lecture and students will be introduced to the lives and works of Seminars. , Dmitri Shostakovich, Gloria Coates, Anton Webern, Galina Ustvolskaya, Amy Beach, Per Performance Ensembles and Classes Nørgård, Wolfgang Rihm, Ellen Taaffe Zwilich, John Adams and others. The evolution of many styles will All performance courses listed below are open to all be explored, including spectralism, serialism, members of the Sarah Lawrence community with microtonalism, eclecticism, minimalism, and permission of the instructor. brutalism. Ensemble Auditions Monteverdi to Monteverdi Auditions for all ensembles will take place at the beginning of the first eekw of classes. Carsten Schmidt Component—Spring Chamber Choir Claudio Monteverdi occupies a truly unique position Patrick Romano in music history. His early works are masterful Component examples of the often serene and balanced style of Early madrigals and motets and contemporary works late Renaissance vocal music. Yet, by the end of his especially suited to a small number of voices will long life, he had become a key player in developing form the body of this group’s repertoire. The and establishing the much more personal and often ensemble will perform winter and spring concerts. extravagant musical language of the early Baroque. Chamber Choir meets twice a week. An audition is Our course will follow this journey, as well as some required. of his other extraordinary transitions—such as from THE CURRICULUM 89

Jazz Studies include the following ensembles and and ensemble technique. The format can be adapted classes: to varying instrumentation and levels of proficiency. A placement audition is required. The Blues Ensemble Glenn Alexander Jazz Vocal Ensemble Component Glenn Alexander, Bill Moring This performance ensemble is geared toward Component learning and performing various traditional, as well No longer do vocalists need to share valuable time as hybrid, styles of blues music. The blues, like jazz, with those wanting to focus primarily on is a purely American art form. Students will learn instrumental jazz and vice versa. This ensemble will and investigate Delta Blues—performing songs by be dedicated to providing a performance-oriented , Charlie Patton, Skip James, and environment for the aspiring jazz vocalist. We will others—as well as Country Blues by mostly concentrate on picking material from the originators such as Blind Lemon Jefferson and standard jazz repertoire. Vocalists will get an Chicago Blues, beginning with Big Bill Broonzy and opportunity to work on arrangements, moving up through Howlin’ Wolf and . interpretation, delivery, phrasing, and intonation in a Students will also learn songs and stylings by Muddy realistic situation with a live rhythm section and Waters, Albert King, and B.B. King and learn how they soloists. They will learn how to work with, give influenced modern bluesmen such as Johnny Winter direction to, and get what they need from the and Stevie Ray Vaughn and pioneer rockers such as rhythm section. It will provide an environment to Jeff , Eric Clapton, Jimmy Page, and . learn to hear forms and changes and also work on An audition is required. vocal improvisation, if they so choose. This will not only give students an opportunity to work on singing Jazz Colloquium solo or lead vocals but also to work with other Glenn Alexander vocalists in singing backup or harmony vocals for Component and with each other. And it will serve as a great This ensemble will meet weekly to rehearse and opportunity for instrumentalists to learn the true art perform a wide variety of modern jazz music and of accompanying the jazz vocalist, which will prove other related styles. Repertoire in the past has to be a valuable experience in preparing for a career included works by composers Thelonius Monk, Duke as a professional musician. An audition is required. Ellington, Miles Davis, and , as well as some rock, Motown, and blues. All instruments are Vocal Studies include the following courses: welcome. An audition is required. Jazz Vocal Seminar Jazz Performance and Thomas Young Improvisation Workshop Component This component is an exploration of the relationship Glenn Alexander of melody, harmony, rhythm, text, style and how Component these elements can be combined and manipulated to This class is intended for all instrumentalists and create meaning and beauty. A significant level of will provide a hands-on study of topics relating to vocal development will be expected and required. An the performance of jazz music. The class will meet audition is required. as an ensemble, but the focus will not be on rehearsing repertoire and giving concerts. Instead, students will focus on improving jazz playing by Self-Discovery Through Singing applying the topic at hand directly to instruments, Eddye Pierce-Young and immediate feedback on the performance will be Component given. The workshop environment will allow students This course encourages an exploration of the to experiment with new techniques as they develop student's vocal ability and potential. Each singer their sound. Topics include jazz chord/scale theory; develops his/her technique through repertoire and extensions of traditional tonal harmony; altered vocal exercises geared to individual ability and chords; modes; scales; improvising on chord specific oicv e type. At the core of instruction is the changes; analyzing a chord progression or tune; required weekly "practice sheet,” which becomes analysis of form; performance and style study, the tool for "self-discovery.” Each semester ends including , Latin, jazz-rock, and ballade styles; with a class performance in recital format. 90 Music So This Is Opera? withdrew from their former colonies, newly inspired African musicians took advantage of broadened Eddye Pierce-Young, Wayne Sanders artistic resources and created vital, contemporary Component musical expressions. This performance course will This course is an introduction to opera through an explore a wide range of African musical styles that opera workshop experience that explores combining emerged in the second half of the 20th century. We drama and music to create a story. Open to students will undertake a broad musical history, considering in the performing arts (music, dance, and theatre), prominent groups and individual musicians during as well as to the College community at large. All this time period, and will perform tightly structured levels are welcome. Weekly class attendance is arrangements of some of their most effective and mandatory. An audition is required. influential pieces. There will be some opportunities for genre-appropriate improvisation and soloing. A Studio Class wide range of instruments will be welcome, Hilda Harris, Wayne Sanders, Eddye Pierce-Young, including strings, horns, guitars, keyboards, drums, Thomas Young and various other percussion instruments. A basic Component facility on one’s musical instrument is expected, but This is a beginning course in basic vocal technique. prior experience with African musical aesthetics is Each student's vocal needs are met within the neither assumed nor required. structure and content of the class. A placement audition is required. Gamelan Angklung Chandra Buana Andrew Algire, Nyoman Saptanyana Seminar in Vocal Performance Component—Fall Hilda Harris A gamelan angklung is a bronze orchestra that Component includes four-toned metallophones, gongs, drums, Voice students will gain performance experience by and flutes. Rhythmic patterns played upon the singing repertoire selected in cooperation with the instruments interlock and combine to form large studio instructors. Students will become acquainted structures of great complexity and beauty. The with a broader vocal literature perspective through gamelan angklung that we will play was specially singing in several languages and by exploring several handcrafted in Bali for the College and was named historical music periods. Interpretation, diction, and Chandra Buana, or “Moon Earth,” at its dedication on stage deportment will be stressed. During the course April 16, 2000, in Reisinger Concert Hall. Any of their studies and with permission of their interested student may join; no previous experience instructor, all Music Thirds in voice are required to with music is necessary. take Seminar in Vocal Performance for two semesters. West African Percussion Ensemble Faso Foli ensembles and courses include the Andrew Algire, Niko Higgins following: Component—Spring African Classics of the Post- Faso Foli is the name of our West African performance ensemble: It is a Malinke phrase that Colonial Era translates loosely as "playing to my father's home." Andrew Algire In this class, we will develop the ability to play Component—Fall expressive melodies and intricate in a From highlife and jújù in Nigeria, to soukous and group context, as we recreate the celebrated makossa in Congo and Cameroon, to the sounds of musical legacy of the West African Mande Empire. Manding music in Guinea, and to “Swinging Addis” in These traditions have been kept alive and vital Ethiopia, the decades following World War II saw an through creative interpretation and innovation in explosion of musical creativity that blossomed Africa, in the United States and in other parts of the across sub-Saharan Africa. Syncretic styles merging world. Correspondingly, our repertoire will reflect a African aesthetics with European, Caribbean, and wide range of expressive practices, both ancient in American influences and instruments resulted in origin and dynamic in contemporary performance. vibrant new musical genres that harken back to The instruments we play—balafons, dun dun drums, traditional African sources while exploring bold and and djembe hand drums—were constructed for the original musical forms. As European powers formally College in 2006, handcrafted by master builders in THE CURRICULUM 91

Guinea. Relevant instrumental techniques will be many possible others. Though experienced players taught in the class, and no previous experience with will have plenty of opportunities to improvise, African musical practice is assumed. Any interested participants need not have played bluegrass before. student may join. The ensemble should include fiddle, 5-string banjo, steel-string acoustic guitar, mandolin, resophonic Other classes and ensembles: guitar (Dobro®), and upright (double) bass. Awareness Through Movement™ for Musicians Sungrai Sohn Carsten Schmidt Component Component—Spring Various chamber groups—from quartets or quintets This course will offer a selection from the thousands to violin and piano duos—are formed each year of Awareness Through Movement lessons developed depending on the number and variety of qualified by Moshe Feldenkrais. The lessons consist of verbal instrumentalists who apply. There are weekly instructions for carefully designed movement coaching sessions. Groups will have an opportunity sequences that allow the students to better sense to perform at the end of each semester in a chamber and feel themselves and thereby develop new and music concert. improved organizational patterns. These gentle movements are done in comfortable positions (lying, Chamber Music Improvisation sitting, and standing), and many instrumentalists and singers have found them to be hugely helpful in John A. Yannelli developing greater ease, reducing unwanted tension Component—Fall and performance anxiety, and preventing injuries. This is an experimental performing ensemble that Another benefit is the often increased capacity for explores a variety of musical styles and techniques, learning and, perhaps most importantly, an including free improvisation, improvisational increased enjoyment of music making and the conducting, and various other chance-based creative process. methods. The ensemble is open to all instruments (acoustic and electric), voice, electronic synthesizers, and laptop computers. Students must Baroque Ensemble be able to demonstrate a level of proficiency on their Carsten Schmidt chosen instrument. Composer-performers, dancers, Component—Spring and actors are also welcome. Performance This performance ensemble focuses on music from opportunities will include concerts and collaboration roughly 1600 to 1750 and is open to both with other programs—such as dance, theatre, film, instrumentalists and singers. Using modern and performance art—as well as community instruments, we will explore the rich and diverse outreach. Class size is limited. An audition is required. musical world of the Baroque. Regular coachings will be supported by sessions exploring a variety of Evolution of a Performance performance practice issues, such ornamentation, notational conventions, continuo playing, and Carsten Schmidt editions. An audition is required. Component—Spring This advanced seminar presents a unique resource designed to help students develop well-informed and Bluegrass Performance Ensemble inspired performances. The content of this course William Anderson will be carefully tailored to participants’ interests, Component—Spring needs, abilities, and chosen repertoire. It will include Bluegrass music is a 20th-century amalgam of a combination of the following: textual criticism and popular and traditional music styles, emphasizing possible creation of a performance edition; vocal performance and instrumental improvisation, consideration of performance practices, drawing on that coalesced in the American Southeast in the historical documents and recent scholarship; study 1940s. This ensemble will highlight through of historical instruments; review of pertinent performance many of the influences and traditions analytical techniques and writings; analytical, that bluegrass comprises, including ballads, compositional, and ear-training assignments; breakdowns, “brother duets,” gospel quartets, Irish- readings that explore the cultural, artistic, and style medleys, “modal” instrumentals, “old-time” emotional worlds of the composers studied; in-class country, popular song, and rhythm and blues, among performances and coaching; and discussion of 92 Music broader philosophical issues relating to authenticity Keyboard Lab in performance. This course is for accomplished and Bari Mort highly motivated performers who have a theory Component background commensurate with completion of at This course is designed to accommodate beginning least the first semester of Advanced Theory: piano students who take Keyboard Lab as the core of Advanced Tonal Theory and Composition. It is their Music Third. Instruction takes place in a group especially suitable for instrumentalists and singers setting, with eight keyboard stations and one master who are preparing for a recital or performances of station. Students will be introduced to elementary major chamber music works. Permission of the keyboard technique and simple piano pieces. instructor is required. Placement arranged by the piano faculty.

Experimental Improvisation Senior Recital Ensemble Component—Spring Kathy Westwater, John A. Yannelli This component offers students the opportunity to Component—Spring share with the larger College community the results This class explores a variety of musical and dance of their sustained work in performance study. During styles and techniques, including free improvisation, the semester of their recital, students will receive chance-based methods, conducting, and scoring. We additional coaching by their principal teachers. An will collaboratively innovate practices and build audition is required. scores that extend our understanding of how the mediums of dance and music relate to and with one another. How the body makes sound and how sound Violin Masterclass moves will serve as entry points for our individual Sungrai Sohn and group experimentation. Scores will be explored Component with an eye toward their performing potential. The This class meets weekly and involves both playing ensemble is open to composer-performers, dancers, and discussion. Each student is required to prepare a performance artists, and actors. Music students solo piece. An accompanist will be present before must be able to demonstrate proficiency on their and during each class to rehearse and perform with chosen instrument. All instruments (acoustic and students. Each is organized as a series electrical), voice, electronic synthesizers, and laptop of individual lessons that address recurrent computers are welcome. Permission of the performance problems, including discussions instructors is required. concerning technical and musical issues (basic and advanced), as well as performance practices. All students will receive copies of the works being Guitar Class performed. William Anderson, Glenn Alexander Component This course is for beginning acoustic or electric Required Concert Attendance/Music guitar students by recommendation of the faculty. Tuesdays Component

Guitar Ensemble The music faculty wants students to have access to a variety of musical experiences; therefore, all Music William Anderson Thirds are required to attend all Music Tuesday events Component and three music department-sponsored concerts on This class offers informal performance opportunities campus per semester, including concerts (the on a weekly basis as a way of exploring guitar solo, number varies from semester to semester) duo, and ensemble repertoire. The course will seek to presented by music faculty and outside improve sight-reading abilities and foster a thorough professionals that are part of the Concert Series. knowledge of the guitar literature. Recommended Music Tuesdays consist of various programs, for students interested in classical guitar. including student/faculty town meetings, concert Permission of the instructor is required. presentations, guest artists’ lectures and performances, master classes, and collaborations with other departments and performing-arts programs. Meetings, which take place in Reisinger THE CURRICULUM 93 Concert Hall on selected Tuesdays from 1:30-3:00 PHILOSOPHY p.m., are open to the community. The schedule will be announced each semester. At Sarah Lawrence College, the study of philosophy retains a centrality, helping students synthesize Master Classes and Workshops their educational experience with the discipline’s many connections to other humanities and to social Master Class science. Through conference work, students also Music Faculty find numerous ways to connect the study of Component philosophy with their interests in the arts and Master classes—a series of concerts, instrumental natural sciences. Stressing the great tradition of and vocal seminars, and lecture demonstrations classical and contemporary philosophy, the College pertaining to music history, world music, offers three types of philosophy courses: those improvisation, jazz, composition, and music organized around thematic topics, such as technology—take place on Wednesdays from Philosophy of Science, Aesthetics, and Philosophy 12:30-1:30 p.m. in either Reisinger Concert Hall or and Literature; those organized historically, such as Marshall Field House Room 1. The classes are open to Moral Philosophy, Political Philosophy, and 20th- the College community. Century Philosophy; and those that study the “systems” of philosophers such as Kant, Nietzsche, and Wittgenstein. Music Workshops and Open Philosophy faculty use the latest technology in Concerts their teaching, including Web boards for posting Bari Mort course material and promoting discussion. Yearlong Component courses make extensive textual work possible, These workshops provide an opportunity for enabling students to establish in-depth relationships students to perform music that they have been with the thought of the great philosophers and to studying in an informal, supportive environment. In “do philosophy” to some degree—particularly this class, participants will present a prepared piece valuable to students preparing for graduate work in and receive constructive feedback from the philosophy. Conference work often consists of instructor and other students. Along with the students thinking through and writing on single specifics of each performance, class discussion may philosophic and literary works, ranging from Greek include general performance issues such as dealing tragedy, comedy, or epic to Plato, Aristotle, Aquinas, with anxiety, stage presence, and other related Machiavelli, Descartes, Shakespeare, Hobbes, Locke, topics. Each term will consist of three workshops, Rousseau, Hume, Kant, Hegel, Marx, Nietzsche, or culminating at the end of each semester in an open Heidegger. concert that is a more formal recital. The entire SLC community is welcome and encouraged to First-Year Studies: From Homer to participate. Plato Abraham Anderson Other courses of interest are listed below. Full Open, FYS—Year descriptions of the courses may be found under the The habit of asking questions, which constitutes appropriate disciplines. Western thought, has its primary origin in Greece. In Dance and Music Improvisation (p. 24), Kathy this class, we will read Greek epics, tragedies, Westwater , John A. Yannelli Dance histories, comedies, and works of philosophy in order The New Elements: Mathematics and the to think about how our thinking got started. Arts (p. 79), Philip Ording Mathematics Lucretius: On the Nature of Things Gwenda-lin Grewal Open, Seminar—Fall Lucretius was a first-century BC Roman philosopher and poet—the contemporary of Cicero, Catullus, Virgil, and Horace and a follower of the Greek atomist Epicurus. All that remains of Lucretius’ work is a long poem, entitled, “On the Nature of Things.” It is written in epic meter and explores everything from 94 Philosophy nature and the world to human beings and the soul. Love, Friendship, and Philosophy Lucretius explains supernatural entities on the basis Gwenda-lin Grewal of natural phenomena. The motivation for this Open, Seminar—Spring materialism seems to have been to bring human The word “philosophy” is usually glossed as “love of morality back down to earth. We will read Lucretius’ wisdom,” where “love” comes from the prefix philo-. original text with a view to why it was written in But the Greek word philia really means “friendship.” poetry and how it might have provoked St. Jerome to Indeed, it would seem strange if the philosopher’s claim that Lucretius composed it while drunk on love pursuit of truth were to be characterized by an erotic potion. We will also read the only surviving letters of longing. Wouldn’t this lead him to fall in love with Epicurus in Diogenes Laertius’s "Lives of Eminent truth and so to be prejudiced toward it? Plato, more Philosophers," along with several essays by Martin than any other author, uses the metaphor of erotic Heidegger on the limits of human thinking and the conquest to describe the search for knowledge. This failure of modern philosophy to comprehend course will ask if there is a difference between eros antiquity. and philia—love and friendship—and whether philosophy’s attachment to truth-seeking is lusty or Philosophical Hubris: The Wish to friendly. We will read Plato’s Symposium (on eros) Be God? and Plato’s Lysis (on friendship), as well as Cicero’s Gwenda-lin Grewal essay on friendship and excerpts from Aristotle’s Open, Seminar—Fall Nicomachean Ethics. Is philosophy’s interest in first ausesc a sign of its arrogance? Is the wish to know “god” a wish to be Philosophy and Conflict: The Idea god? To make pretensions to know beyond one’s of War human situation was, in times past, considered a Gwenda-lin Grewal sign of impiety. Anaxagoras was exiled for atheism, Open, Seminar—Spring because he imagined that the planets were fiery Plato is the first philosopher ot describe war in terms rocks. Empedocles went around in a purple robe and of an art (in the Republic). He does so in a context in bronze shoes, announcing that anyone who didn’t which the strongest warriors turn out to be understand him was a “fool.” Socrates famously philosophers with special training in gymnastics, defended himself against impiety by proclaiming geometry, and dialectic. The suggestion seems to be that he once heard a third party verify from the that solving geometrical proofs, resolving oracle at Delphi that Socrates was the wisest man philosophical contradictions, and fighting enemies alive. This did not help win the affection of the are related pursuits. This appears to be especially Athenian jurors, and Socrates was sentenced to true of Thucydides, for whom philosophy and history death. Is there some justice to these accusations, coincide in one exemplary event: the Peloponnesian even if one doesn’t believe in impiety but only in War. Since that war was between Greeks and Greeks, relativism? Relativism means to think it is Thucydides’ interest is in opposition arising from impossible to know beyond one’s own perspective. similarity. We will read his History of the One wonders, therefore, if it harbors a certain piety. Peloponnesian War, followed by Machiavelli’s The This course will explore how to distinguish between . Machiavelli, too, contemplates potential war true truths and self-righteous truths and whether within sameness, especially conspiracies on the the search for wisdom is motivated by vanity. We will inside of cities (among which is Machiavelli’s book). consider not only Plato’s Apology but also St. Thomas The idea that the inside might contain the possibility Aquinas’s On Being and Essence. While Aquinas is of further insides suggests that the political usually considered a pious medieval theologian, a problem—a certain tension between “us” and careful reading of his text may reveal a possible link “them”—might be a philosophical problem and, between a humble ignorance of first ausesc and a conversely, that the philosophical tension exhibited megalomaniacal philosophical curiosity. Of course, by contradictions might be somehow political. no study of the vanity of humility would be complete without Nietzsche. We will read The Antichrist and Ecce Homo, which begins with a chapter, called “Why I Am So Wise,” in consideration of Nietzsche’s philosophical trial of himself and his repudiation of Christianity. THE CURRICULUM 95 Aesthetics: the Romantics and understand what he means by reason, what he Hegel means by the passions, and how the two are connected. Taken together, the Discourse on Method Abraham Anderson and The Passions of the Soul treat these issues and Intermediate, Seminar—Fall so constitute the most complete treatment of We will read German Romantic thought and Hegel’s human nature to be found in Descartes, the Lectures on Aesthetics to understand the unfolding philosopher who—perhaps more than any of modern aesthetics after Kant. other—sets the stage for the modern world, for our world. Ancient Philosophy (Plato) Michael Davis Other courses of interest are listed below. Full Intermediate, Seminar—Fall descriptions of the courses may be found under the This course will be devoted to a careful reading of a appropriate disciplines. small number of texts from a major figure in ancient Taoist Philosophy and the Arts (p. 11), Ellen Neskar philosophy. The goal of the course is twofold. It is Asian Studies first designed ot acquaint students with one of the Discrete Mathematics: A Bridge to Advanced seminal figures of our tradition in more than a Mathematics (p. 80), Philip Ording superficial way. In doing that, it will force us to slow Mathematics our usual pace of reading, to read almost painfully Modern Political Theory (p. 99), David Peritz Politics carefully, with a view to understanding the thinker The Legitimacy of Modernity (p. 98), David Peritz as he wrote and as he understood himself and not as Politics a stage in an historical development. The second Individualism Reconsidered: Beyond Pride and part of the goal of the course is to introduce and Shame (p. 111), Marvin Frankel Psychology encourage this kind of careful reading. The text for Personality Development (p. 110), Jan Drucker fall 2017 will be Plato’s Theaetetus, the dialogue in Psychology which the question “What is knowledge?” is raised. The Empathic Attitude (p. 112), Marvin Frankel Psychology Thinkers on the Right Readings in Christian Mysticism: Late Abraham Anderson Antiquity (p. 118), Cameron C. Afzal Religion Intermediate, Seminar—Spring The goal of the seminar is to investigate the development of the "Right" in European political thought after the French Revolution. We will read PHYSICS selections from Joseph de Maistre, Hegel’s Philosophy of Right, Nietzsche’s Genealogy of Morals, Physics—the study of matter and energy, time and and other things yet to be determined. space, and their interactions and interconnections—is often regarded as the most Modern Philosophy (Descartes) fundamental of the natural sciences. An understanding of physics is essential for an Michael Davis understanding of many aspects of chemistry, which Intermediate, Seminar—Spring in turn provides a foundation for understanding a Descartes is generally acknowledged to be the variety of biological processes. Physics also plays an founder of modern philosophy and categorized as a important role in most branches of engineering; and rationalist. Yet he interprets reason so as to found a the field of astronomy, essentially, is physics applied new science that will make us "like masters and on the largest of scales. possessors of nature." What is the motive for this As science has progressed over the last century mastery? We labor and we die; in addressing both or so, the boundaries between the different these evils, the new science is, in principle, meant to scientific disciplines have become blurred, and new return us to paradise and so satisfy our deepest interdisciplinary fields—such as chemical physics, longings—to render us godlike. Descartes' scientific biophysics, and engineering physics—have arisen. “rationalism” is thus rooted in, and for the sake of, For these reasons, and because of the excellent something not in any obvious way rational or training in critical thinking and problem solving scientific. If orf Descartes, as a later philosopher will provided by the study of physics, this subject claim, "reason is and ought to be the slave of the passion," to understand his project one must 96 Physics represents an indispensable gateway to the other Modern Breakthroughs in Physics natural sciences and a valuable component of a Open, Seminar—Fall liberal-arts education. This course will discuss the many breakthroughs in physics in the past century and recent decades, First-Year Studies: It's About Time ranging from the basics of Einstein’s relativity to the Merideth Frey open questions about dark energy and the Open, FYS—Year accelerating universe. We will focus on the main This seminar will explore the topic of time from a concepts concerning these astounding discoveries wide variety of viewpoints—from the physical to the and avoid any difficult mathematics. udentsSt are metaphysical to the practical. We will seek the encouraged to deeper into the topic of their answers to questions such as: What is time? How do choice for their conference projects. No previous we perceive time? Why does time appear to flow only physics or math class required; just bring an open in one direction? Is time travel possible? How can I and curious mind. make the most use of my time? We will discuss Stephen Hawking’s A Brief History of Time, explore the perception of time across cultures and eras, Introduction to Mechanics construct an appreciation of the arrow of time by (General Physics Without designing and building a Rube Goldberg machine, as Calculus) well as learn some useful time-management skills. Open, Seminar—Fall Time stops for no one, but we will pause to This course covers introductory classical mechanics, appreciate its uniqueness. including dynamics, kinematics, momentum, energy, and gravity. Students considering careers in Classical Mechanics (Calculus- architecture or the health sciences, as well as those Based General Physics) interested in physics for physics’ sake, should take either this course or Classical Mechanics. Emphasis Merideth Frey will be placed on scientific skills, including problem Open, Lecture—Fall solving, development of physical intuition, scientific Calculus-based general physics is a standard course communication, use of technology, and development at most institutions; as such, this course will prepare and execution of experiments. Seminars will you for more advanced work in physical science, incorporate discussion, exploratory activities, and engineering, or the health fields. (Alternatively, the problem-solving activities. In addition, the class will algebra-based Introduction to Mechanics will also meet weekly to conduct laboratory work. A suffice for pre-medical students.) The course will background in calculus is not required. This course or cover introductory classical mechanics, including equivalent is required to take Introduction to dynamics, kinematics, momentum, energy, and Electromagnetism, Light, and Modern Physics gravity. Emphasis will be placed on scientific skills, (General Physics Without Calculus) in the spring. including problem solving, development of physical intuition, scientific ommunicc ation, use of technology, and development and execution of Introduction to Electromagnetism, experiments. The best way to develop scientific skills Light, and Modern Physics is to practice the scientific process. We will focus on (General Physics Without learning physics through discovering, testing, Calculus) analyzing, and applying fundamental physics concepts in an interactive classroom and in Intermediate, Seminar—Spring workshop-style group conferences. In addition to This course covers the topics of electromagnetism lectures and group conferences, the class will meet and optics. Emphasis will be placed on scientific weekly to conduct laboratory work. Permission of the skills, including problem solving, development of instructor is required. Prerequisite: one semester of physical intuition, scientific ommunicc ation, use of calculus. Students who have not completed a second technology, and development and execution of semester of calculus are strongly recommended to experiments. Seminars will incorporate discussion, enroll in Calculus II, as well. Classical Mechanics or exploratory, and problem-solving activities. In equivalent, along with Calculus II or equivalent, is addition, the class will meet weekly to conduct highly recommended in order to take laboratory work. Calculus is not a requirement for Electromagnetism and Light (Calculus-Based General this course. Students should have had at least one Physics) in the spring. semester of physics (mechanics). THE CURRICULUM 97 Thermodynamics and Statistical POLITICAL ECONOMY Mechanics Intermediate, Seminar—Spring Classes from disciplines such as economics, This course will cover the three laws of geography, history, LGBT studies, politics, psychology, thermodynamics and apply these laws to public policy, sociology, and writing comprise the applications in physics, chemistry, earth science, classes available within this cross-disciplinary path. and engineering (including heat engines and chemical reactions). We will also derive these Courses offered in related disciplines this year are macroscopic thermodynamic properties from the listed below. Full descriptions of the courses may be underlying statistical mechanics of particularly found under the appropriate disciplines. useful microscopic models of various systems. This First-Year Studies: 2016 Presidential Election in is a standard intermediate course for students Context: Power, Inequality, and Public interested in pursuing physics, physical chemistry, or Authority (p. 27), Jamee K. Moudud Economics engineering. Prerequisites: one year of calculus, as Global Inequalities and Financial Crises: Legal well as one year of general physics and/or general Approaches to the International Economic chemistry. System (p. 28), Jamee K. Moudud Economics Introduction to Economic Theory and Policy (p. 28), Electromagnetism and Light Kim Christensen Economics (Calculus-Based General Physics) Understanding Property: Cultural and Environmental Merideth Frey Perspectives (p. 29), Charles Zerner Intermediate, Seminar—Spring Environmental Studies In this follow-on course to Classical Mechanics, we First-Year Studies: Introduction to Development will be covering waves, geometric and wave optics, Studies: The Political Ecology of electrostatics, magnetostatics, and Development (p. 47), Joshua Muldavin electrodynamics. We will use the exploration of the Geography particle and wave properties of light to bookend our The Geography of Contemporary China: A Political discussions and ultimately finish our xplore ation of Ecology of Reform, Global Integration, and Rise classical physics with the hints of its to Superpower (p. 47), Joshua Muldavin incompleteness. Seminars will incorporate Geography discussion, exploratory activities, and problem- Global Masculinities (p. 66), John (Song Pae) Cho solving activities. In addition, the class will meet Lesbian, Gay, Bisexual, and Transgender Studies weekly to conduct laboratory work. Prerequisites: Love, Sex, and Globalization (p. 65), John (Song Pae) Classical Mechanics or equivalent, along with Cho Lesbian, Gay, Bisexual, and Transgender Calculus II or equivalent. Studies Queer New Media (p. 67), John (Song Pae) Cho Lesbian, Gay, Bisexual, and Transgender Studies Other courses of interest are listed below. Full An Introduction to Statistical Methods and descriptions of the courses may be found under the Analysis (p. 78), Daniel King Mathematics appropriate disciplines. Mathematical Modeling I: Multivariable Abstract Algebra: Theory and Applications (p. 81), Calculus (p. 80), Philip Ording Mathematics Daniel King Mathematics Mathematical Modeling II: Differential Equations and Mathematical Modeling I: Multivariable Linear Algebra (p. 80), Philip Ording Calculus (p. 80), Philip Ording Mathematics Mathematics Mathematical Modeling II: Differential Equations and African Politics (p. 100), Elke Zuern Politics Linear Algebra (p. 80), Philip Ording Democracy and the Market (p. 101), Elke Zuern Mathematics Politics International Political Economy: The Rise (and Fall) of Neoliberal Hegemony. (p. 101), Yekaterina Oziashvili Politics Modern Political Theory (p. 99), David Peritz Politics The Legitimacy of Modernity (p. 98), David Peritz Politics Crossing Borders and Boundaries: The Social Psychology of Immigration (p. 104), Gina Philogene Psychology 98 Politics POLITICS system of domination. This class will introduce many of the foundational texts and authors in social theory and the social sciences, including Thomas The study of politics at Sarah Lawrence College Hobbes, Adam Smith, Alexis de Tocqueville, John encompasses past and present thinking, political Stuart Mill, Karl Marx, Emile Durkheim, Max Weber, and interdisciplinary influences, and theoretical and Sigmund Freud, Michel Foucault, and Jürgen hands-on learning. The goal: a deep understanding of Habermas. In this way, it will also cover various the political forces that shape society. How is power schools of social explanation, including Marxism, structured and exercised? What can be structuralism, poststructuralism, and (in group accomplished through well-ordered institutions? conferences) postcolonial studies and feminism. The And how do conditions that produce freedom thread connecting these disparate authors and compare with those that contribute to tyranny? approaches will be the issue of the worth or Questions such as these serve as springboards for legitimacy of Western modernity, the historical stimulating inquiry. process that produced capitalism, representative Rather than limit ourselves to the main democracy, religious pluralism, the modern sciences, subdisciplines of political science, we create ethical individualism, secularism, fascism, seminars around today’s issues—such as feminism, communism, new forms of racism and sexism, and international justice, immigration, and poverty—and many “new social movements.” Which of the analyze these issues through the lens of past institutions that structured the process of philosophies and events. We don’t stop at artificial modernization are worth defending or reforming? boundaries. Our courses often draw from other Which should be rejected outright? Or should we disciplines or texts, especially when looking at reject them all and embrace a new, postmodern complex situations. Because we see an important social epoch? In answering these questions in class connection between political thought and political and group conferences, we will grapple with both action, we encourage students to participate in the classical texts and the contemporary service learning. This engagement helps them apply implications of different approaches to social and augment their studies and leads many toward analysis. politically active roles in the United States and around the world. Introduction to International The Legitimacy of Modernity Relations David Peritz Yekaterina Oziashvili Open, Lecture—Year Open, Lecture—Fall How can social order be explained in modern War made the state, and the state made war. societies that are too large, fluid, and omplec x to rely —Charles Tilly on tradition or self-conscious political regulation alone? Social theory is a distinctly modern tradition This course will take a critical approach to the study of discourse centered on answering this question of international relations. First, we will study the and focused on a series of theorists and texts whose main theories (e.g., realism, liberalism, works gave rise to the modern social sciences. They constructivism, Marxism), concepts (e.g., the state, explore the sources of social order in structures, anarchy, sovereignty, balance of power, dependency, many of which work “behind the backs” of the hegemony, world order), and levels of analysis 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, a variety of disciplinary better understand the many ongoing debates about techniques inscribed in diverse mundane war and peace, humanitarian interventions, practices...one by one, these theorists labored to international institutions, and the international unmask the often hidden sources of social order in political economy. Some of the questions that we the modern world. Moreover, this understanding of will explore include: Why do states go to war? Why do social order has evolved side-by-side with some humanitarian interventions succeed while evaluations that run the gambit from those who others fail or simply never materialize? Why are view Western modernity as achieving the apex of some regions and states rich while others are poor, human freedom and individuality to those who see it and how do these inequalities shape international as insinuating a uniquely thorough and invidious THE CURRICULUM 99 relations? How do international organizations help to Modern Political Theory reinforce or moderate existing interstate political David Peritz and economic inequalities? Open, Seminar—Year Political theory consists of a discourse of thinking Presidential Power about the nature of political power; the conditions Samuel Abrams for its just and unjust use; the rights of individuals, Open, Seminar—Year minorities, and majorities; and the nature and The President is the most prominent actor in the US bounds of political community. Rather than tackling government, and developing an understanding of pressing political problems one at a time, political how and why political leaders make the choices that theorists seek systematic solutions in overall visions they do is the goal of this course. Presidents must of just societies or comprehensive diagnoses of the make countless decisions while in office and, as roots of oppression and domination in political Edwards and Wayne explain, “Executive officials look orders. In this course, we focus on modern writers to [the presidency] for direction, coordination, and who shaped the terms and concepts that general guidance in the implementation of increasingly populate political imaginations the policy...Congress looks to it for establishing priorities, world over; that is, the conscious and unconscious exerting influence...the heads of foreign ideas about rights, power, class, democracy, governments look to it for articulating positions, community, and the like that we use to make sense conducting diplomacy, and flexing muscle; the of our political lives. Thinkers to be considered general public looks to it for...solving problems and include Hobbes, Locke, Rousseau, Kant, Hegel, Marx, exercising symbolic and moral leadership...” This Mill, and Nietzsche. By studying their work, we will course will examine and analyze the development be better positioned to answer something like the and modern practice of presidential leadership in following range of questions: What is the nature of the United States by studying the evolution of the political power? What is the content of social modern presidency, which includes the process of justice? Does democracy threaten basic individual presidential selection and the structure of the rights? Is it more important to respect the individual presidency as an institution. We will then reflect on or the community when the interests of the two the ways in which presidents make decisions and conflict? Is a market economy required by or seek to shape foreign, economic, and domestic incompatible with democracy? What aspects of policy. This will be based on a variety of literatures, human potential and social worlds do different ranging from social psychology to organizational grand theories of political life illuminate and behavior. We will look at the psychology and occlude? Finally, this course will pose the issue of character of presidents in this section of the course. the worth and legitimacy of European modernity; We will also explore the relationship of the that is, the historical process that produced presidency to other major governmental institutions capitalism, representative democracy, religious and organized interests. We will pay particular pluralism, the modern sciences, ethical attention to how presidents have attempted to individualism, secularism, fascism, communism, new expand presidential power and the various struggles forms of racism and sexism, and many “new social the has had with the ministry, Congress, movements.” Which of the ideas that jostle for the Judicary, and global institutions such as the prominence within this tradition are worth United Nations. We will pay particular attention to a defending? Which should be rejected? Or should we particular set of presidents: Franklin D Roosevelt, reject them all and, instead, embrace a new, Harry Truman, Richard Nixon, and Dwight D postmodern political epoch? In answering these Eisenhower. We will conclude by examining the questions, we will be forced to test both the internal post-9/11 era of Bush, Obama, and Trump, where all coherence and the continuing relevance of the of these presidents have greatly sought to increase political visions that shape modern politics. the power of the Oval Office relative to other branches of government. While the course is open to all students, the workload is intense, and prior background in American history and politics is preferable. 100 Politics People on the Move: Narrating will be a key component of the course. Throughout Displacement, Critiquing Crisis, the year, students will explore the link between global refugee movements and the status of and Advocating for Refugees and refugees and other forced migrants in the United Forced Migrants States through involvement in individual service- Janet Reilly learning projects in their local community. Students Open, Seminar—Year are expected to engage in a community service UN Secretary General Antonio Guterres famously activity that brings them into direct contact with declared in 2007 that the 21st century would be one refugees for at least three hours per week. Students of “people on the move.” The idea that the term may act as homework tutors, activity leaders for “refugee” should apply only to individuals who have children, English conversation partners, teachers’ been forced to flee their homes due ot state aides, or advocates promoting public awareness for persecution or armed conflict is of limited use in a refugees. Conference work will engage students in world where the number of forced migrants is more advocacy efforts on behalf of refugees and forced than 65 million and the causes of displacement migrants and will be conducted in groups in both the (both within states and across borders) are fall and the spring semesters. In the fall, students increasingly complex and interrelated—including will conduct research, in collaboration with Scholars conflict, extreme deprivation, and environmental at Risk, on the case of an imprisoned scholar and degradation due to climate change. The refugee plan advocacy activities for the spring semester. "crisis" in Europe has drawn attention to the plight Students will develop a social media campaign and of forced migrants worldwide, but liberal conduct outreach to case stakeholders, including democracies continue to institute border controls human rights organizations, the UN, and government and nonarrival measures in order to restrict access officials. In the spring, in additiono t implementing to asylum—citing security threats from smugglers, their advocacy plans, students will work in groups to irregular migrants, and “bogus” refugees—while conduct community needs assessments at their failing to recognize the structural violence of service sites and author grant proposals in response international migration regimes or taking to identified needs. responsibility for the active harm inflicted upon refugees. This yearlong seminar will draw upon case African Politics materials, selected readings (including policy briefs, academic articles, memoirs, and ethnographies), Elke Zuern and documentary films ot explore the causes and Open, Seminar—Fall consequences of displacement. Special attention This course offers a comprehensive introduction to will be paid to the lived experiences of, and African politics, challenging common assumptions knowledge produced by, forced migrants. We will and misunderstandings of the continent. We will also examine the assumptions and actions of investigate persistent political institutions, as well governments, the donor community, the United as mechanisms of political and economic change. Nations, and nongovernmental organizations (NGOs) Key questions include: How are postcolonial African that typically intervene on behalf of refugees. states distinctive from other postcolonial states? Complex ethical, legal, and policy issues will be How do the politics of patronage, prevalent in many considered, such as: (1) ethical dilemmas in the African states and societies, affect processes of provision of protection and care for the most political and economic change such as vulnerable groups, such as orphans and democratization and the implementation of unaccompanied children, during refugee migrations; structural adjustment and poverty alleviation (2) contrasting models of care: camp settings vs. programs? What role have external influences, from urban refugees; (3) legal status and distinctions colonialism to current forms of European and North between refugees, asylees, and other migrants; (4) American influence, played on the continent? What decisions about “durable solutions”: repatriation, impact has China's rising role (alongside other Asian local integration, and third country resettlement; (5) states) had? What choices and trade-offs have the need for burden-sharing arrangements between Africa's postcolonial leaders and citizens faced? This countries of the global North and the global South course will not investigate the experiences of all (which host the vast majority of refugee African states but will address these questions by populations); (6) states’ responsibilities and drawing upon the experiences of a few countries: increasing restrictions on access to asylum; and (7) Ghana, Nigeria, Kenya, and South Africa. The course challenges that refugee migrations pose to state- will begin with an in-depth analysis of the colonial centric concepts of citizenship. Experiential learning experience, decolonization, and the legacy of THE CURRICULUM 101 colonialism. We will then move on to address key Democracy and the Market questions regarding postcolonial governance, Elke Zuern concerning the nature of the postcolonial African Intermediate, Seminar—Year state, the role of violence in governance, the nature This yearlong seminar will address the question of of popular demands for democracy, and popular how liberal democracy and market capitalism rebellion and elite resistance. The final section will reinforce and contradict one another. It will also build upon the first two by investigating approaches explore alternative ideals. We will begin with the to, and ideals of, economic development, including seemingly timeless debate concerning structural reforms, aid, trade, debt, private modernization and consider the lessons of past investment, and social programs in order to unearth successful, state-led growth strategies without the contradictions and promises of these processes. democracy. This brings us to the question as to whether such state-led strategies, with or without International Political Economy: democracy, are still possible in the post-Cold War era The Rise (and Fall) of Neoliberal in light of the so-called Washington—and now post- Hegemony. Washington—consensus. To understand the challenges that individual states face, we Yekaterina Oziashvili investigate the wave of democratization that Open, Seminar—Spring occurred from the late 1980s and the ways in which It is often said that all politics is economics. The aim economic conditions and economic policy of this course is to show that all economics is contributed to the pressure for change and limited politics. Though economists and policymakers often possible outcomes. We will also consider the role of present their economic policy decisions and views as social movements in pressing for change and the neutral—based solely on abstract mathematical discrepancies between what many people mobilized models, guided by the laws of nature (or the for and the results of regime change. This leads us to "invisible hand" of the market)—they are, in fact, consider inequality in both the political and driven by sometimes surprisingly transparent economic realm and the interaction between the political ends and ideology. In this class, we will two. Corruption forms another key challenge that is question the frequently proclaimed universality, often highlighted or ignored for ideological and neutrality, and inevitability of economic principles partisan reasons. We will approach corruption and policies through a close examination of debates from a number of disciplinary perspectives neoliberal ideology and the ways in which it limits to assess what is really at stake. Finally, the course political discourse, reforms, and development. will investigate a wide range of country case studies, Specifically, we will examine the economic and transnational movements, and international actors political origins and consequences of shock therapy (IOs, INGOs, donors) and consider both their defense in Latin America and Eastern Europe, structural of liberal ideals and the alternatives that they offer. adjustment policies in countries suffering from Prior coursework in the social sciences is required. economic crisis, and austerity measures imposed by the Troika on Greece and other states in the European Union. We'll also look at socioeconomic Other courses of interest are listed below. Full explanations for the recent rise of populist parties descriptions of the courses may be found under the and political candidates. Some of the questions that appropriate disciplines. we will explore include: What is the role of Introduction to Economic Theory and Policy (p. 28), international economic institutions in domestic and Kim Christensen Economics international affairs? How do the interactions Landscapes in Translation: Cartographies, Visions, between international and domestic institutions and and Interventions (p. 30), Charles Zerner actors determine the production and distribution of Environmental Studies scarce resources? And what is the relationship Understanding Property: Cultural and Environmental between capitalism and democracy, conditional Perspectives (p. 29), Charles Zerner lending and democratization, and international Environmental Studies institutions and national sovereignty? First-Year Studies: Introduction to Development Studies: The Political Ecology of Development (p. 47), Joshua Muldavin Geography 102 Psychology The Geography of Contemporary China: A Political We offer courses from the domains of Ecology of Reform, Global Integration, and Rise biological, clinical, cognitive, community, cultural, to Superpower (p. 47), Joshua Muldavin developmental, educational, experimental, health, Geography personality, and social psychology. Our courses The Russian Revolution (p. 54), Philip Swoboda emphasize the interplay of theory and observation, History research and analysis, understanding and Global Masculinities (p. 66), John (Song Pae) Cho applications. Our courses are also inherently Lesbian, Gay, Bisexual, and Transgender Studies interdisciplinary, making connections between Love, Sex, and Globalization (p. 65), John (Song Pae) psychology and other fields such as biology, Cho Lesbian, Gay, Bisexual, and Transgender anthropology, education, linguistics, public policy, Studies public health, women’s studies, philosophy, and the Queer New Media (p. 67), John (Song Pae) Cho arts. Students have a variety of choices as they Lesbian, Gay, Bisexual, and Transgender Studies design their independent conference work. An Introduction to Statistical Methods and Some conference projects consist of reviewing Analysis (p. 78), Daniel King Mathematics and analyzing the primary research literature on a First-Year Studies: From Homer to Plato (p. 93), topic of interest. Others make experiential learning Abraham Anderson Philosophy central to the independent work. Opportunities open Philosophy and Conflict: The Idea of War (p. 94), to students include: assisting at our Early Childhood Gwenda-lin Grewal Philosophy Center, in local schools, or at clinics; planning and Thinkers on the Right (p. 95), Abraham Anderson carrying out original research in one of three Philosophy psychology lab spaces on campus (the Child Study Crossing Borders and Boundaries: The Social Lab, the Cognition and Emotion Lab, and the Adult Psychology of Immigration (p. 104), Gina Experimental Psychology Lab); working with Philogene Psychology community organizations in Yonkers, New York; and Constructing Citizenship, Dismantling Hierarchies: participating in environmental education at our The Immigrant and Racial Struggle for Political Center for the Urban River at Beczak (CURB). Equality (p. 114), Luisa Laura Heredia Public Psychology is also a core component of two focused, Policy semester-long community-based academic The Art of Protest (p. 114), Luisa Laura Heredia Public programs: the Intensive Semester in Yonkers and Policy Sarah Lawrence College’s Study Abroad Program in Sub-Saharan Africa. Ideas and skills developed in class and in conference often play a formative role in the PSYCHOLOGY intellectual and professional trajectories of students who go on to pursue these ideas in a wide range of How do infants navigate their world? How do factors fields, including clinical and research psychology, as diverse as genetics, socioeconomic status, social education, medicine, law, the arts, social work, networks, mindfulness practices, and access to open human rights, and politics. Our alums tell us that the spaces contribute to how people cope with the seminar and independent conference work here problems of living? How do technology, architecture, prepared them well for the challenges of both language, and cultural practices affect how we graduate school and their careers. think? What accounts for the global epidemic of The college has two psychology-related mental health issues? What has psychology graduate programs: Art of Teaching and Child contributed to understanding genocide and torture? Development. These offer the possibility for our In what ways can psychologists illuminate the undergraduate students to pursue both their mystery of the creative process in science and art? bachelor's and master's degrees in five years of How does morality develop? What factors determine study. The college also offers a dual-degree program our political, economic, and moral decisions? What with the Silver School of Social happens in mind and body as we experience Work, allowing Sarah Lawrence undergraduates to emotions? These reflect just a ewf of the questions obtain a BA, a Master of Social Work, and an MA in discussed in our psychology courses, a sampling of Child Development in six years. the broad range covered in the psychology curriculum. THE CURRICULUM 103 First-Year Studies: Child and research to bibliographic research in this area. The Adolescent Development community partnership/service-learning component is an important part of this class. We will work with Carl Barenboim local agencies to promote healthy and adaptive Open, FYS—Year person-environment interactions within our In this course, we will study the psychological community. growth of the child from birth through adolescence. In the process, we will read about some of the major theories that have shaped our thinking concerning History of Social Psychology children, including psychoanalytic (Freud and Gina Philogene Erikson), behaviorist (Skinner), social learning Open, Lecture—Fall (Bandura), and cognitive developmental (Piaget). A Before the emergence of social psychology as a number of aspects of child development will be formal discipline in the late 19th and early 20th considered, including: the capabilities of the infant; centuries, it is clear that some philosophers, the growth of language, thinking, and memory; religious authorities, and various individuals using various themes of parent-child relations, including their conventional wisdom had already articulated attachment, separation, and different parenting many different perspectives on human interactions styles; peer relations (friendships, the “rejected with others and with their social environments. The child”); sex role development; some of the “real- roots of the discipline point to an embedding of the world” challenges facing today’s children and field in both sociology and psychology at the same adolescents (e.g., “pushing” young children, divorce, time. This resulted in the development of two and single-parent/blended families); and the different social psychologies, which evolved modern study of childhood resilience in the face of differently and were more likely organized along a difficult circumstances. Direct experience with geographical axis between Europe and North children will be an integral part of this course, America. Such a division made it difficulto t have an including fieldwork at the Early Childhood Center or integrative and independent social psychology, other venues. Written observational diaries will be rendering it very complicated to reach a common used as a way of integrating these direct definition. This lecture explores the origins and experiences with seminar topics and conference evolution of social psychology in the United States. readings. More specifically, we will look at three interrelated issues in the evolution of the field. First, we will First-Year Studies: Health, Illness, review the various definitions of the field and what impact these have had on the type of research we and Medicine in a Multicultural have designed. Second, we will analyze the Context: A Service-Learning succession of crises that the field has acf ed Course throughout its history and how those have Linwood J. Lewis contributed to a lack of cohesion between the Open, FYS—Year different perspectives. Finally, we will look at how What is the difference between disease and illness? the field has evolved in other parts of the world, Do people in different cultures manifest the same often marked and structured by a history of illness similarly? Has the biomedical model resulted colonialism. in better health for all? Why do women get sicker but men die quicker? This course offers an overview of Who am I? Clinical Perspectives of theoretical and research issues in the psychological Psychology of the Self study of health and illness within a cultural context. We will examine theoretical perspectives in the David Sivesind psychology of health, health cognition, illness Open, Lecture—Fall prevention, stress, and coping with illness. We will What do any of us mean when we say our ”self”? also examine the interrelationship between humans What is the self? Multiple perspectives on this topic and the natural and built environment. A lifespan have emerged in the literature of psychology, approach examining child, adolescent, and adult psychotherapy, and beyond. Self-concept, self- issues will provide additional insight. Issues of esteem, self-worth, real-self, false-self, self-control, sexuality, gender, race, and ethnicity are a central self-estrangement, among other terms and focus, as well. This class is appropriate for those concepts, will be considered here. And what of the interested in a variety of health careers or in public loss of self, as noted by the above statement? What health. Conference work may range from empirical was lost? (Has something been lost?) Is the person’s 104 Psychology brain different? Is that where the self is? The person significant impairment? Conference work will offer notes that “things” are different. Perhaps that’s students the opportunity to apply ongoing issues in some change with relation to the environment, some trauma and resilience research to a wide range of new development in emotion, habits, or perhaps disciplines, including science, law, medicine, art, relationships? Is “the self” a stable concept? We will media, politics, and ethics. consider both clinical cases regarding perceived loss of self and cases from neuroscience where some Crossing Borders and Boundaries: authors have perceived a change in a person’s concept of “self.” We will consider readings that The Social Psychology of stem from a primarily Western, individuality- Immigration oriented, self perspective, as well as non-Western Gina Philogene and other challenges to these notions of self. This is Open, Lecture—Spring an open lecture course format; however, students in Remember, remember always, that all of us…are the course will be expected to engage actively in descended from immigrants and revolutionists. discussions as part of every lecture. We will consider —Franklin D. Roosevelt writings from a variety of perspectives: Heinz Kohut, Donald Winnicott, Eric Berne, Karen Horney, Martin Immigration is a worldwide phenomenon where Seligman, Joseph Ledoux, Oliver Sacks, and others. people move into another nation with the intention of making a better life for themselves and/or residing there temporarily or permanently. While Trauma, Loss, and Resilience anchored in a multidisciplinary perspective, this Adam Brown seminar explores the crucial role of psychology in Open, Lecture—Spring understanding the processes associated with our How people remember and respond to stress and conceptualizations of immigrants and immigration. trauma has garnered much attention and The course begins with some theoretical controversy in the field of psychology. These debates perspectives on immigration, as well as a brief have reached well beyond therapists’ offices and historical overview of sociological and social academic departments, figuring prominently in the psychological research on immigrants. We then media, policy debates, and judicial decisions. examine the identity of the immigrant, stressing the Through a review of theory, research, and clinical profound distinctions between forced and voluntary case reports, this course aims to provide a nuanced immigrants. We will analyze the processes through examination of traumatic stress research. The which “illegality” is constructed by reflecting on the course will begin with a historical exploration of how lives of undocumented immigrants. We will look at the mental-health community has defined and how the intersections of race, class, gender, treated trauma over the past century, including the sexuality, and culture shape the psychological sociocultural forces that shaped these definitions experience of immigrants. Seeking to extend our and interventions. We will also delve into more analysis to immigration’s impact on the host current issues involving trauma, specifically post- population, we conclude the course by discussing traumatic stress disorder (PTSD). Readings will several social psychological issues, such as the survey a range of topics, drawing on cognitive, intergroup relations, discrimination, and modes of developmental, neuroscientific, and psychoanalytic adaptation. perspectives. We will discuss and question: What are the impacts of stress and trauma across the life span? How is trauma processed cognitively, and Ways of Knowing Each Other: what brain regions are involved in trauma-related Psychotherapeutic Models and the distress? What is the impact of trauma and loss on Restoration of Freedom mental and physical health? What is an appropriate Marvin Frankel response to trauma (and who decides)? Are there Open, Seminar—Year outcomes to stress and trauma other than distress? What are the narratives of people who have no Is memory for trauma special? Are horrific reason to fear being negatively judged? We will experiences indelibly fixed in a victim’s memory, or review therapeutic transcripts such as these: 1. “Can does the mind protect itself by banishing traumatic I be what I have never been?” (comment by Alice in memories from consciousness? How do those first therapeutic session) “I no longer wonder what I working in the field of traumatic stress cope with ought to be but only what I can be.” (comment by secondary exposure? Why are some people able to Alice in 10th therapeutic session) Is this progress? 2. experience repeated exposure to trauma without Therapist: “How do you know your relationship is THE CURRICULUM 105 over?” Client: “Our conflicts are not interesting!” Is forgotten. Although these complex relations are far this an excellent measure of the health or illness of a from being understood, neuropsychology and relationship? 3. The client has terminal cancer. neuroscience research are illuminating the neural Client: “My family believes I am in denial.” Therapist: regions and networks underlying autobiographical “And you?” Client: “For me, dying is just my final memories and self-related processing. In this course, experience. I won't give it any more respect than we will examine neuropsychological that.” Is this wisdom or denial? 4. Break up of a research—looking at how the loss of relationship: Client: “I feel so guilty for hurting him.” autobiographical memory impacts the integrity of Therapist: “For no longer loving Jeff?” Client: identity such as in cases of amnesia and Alzheimer’s “Exactly...” Therapist: “But wasn't loving Jeff a disease. We will also discuss how different memory pleasure?” (“Uh huh”) “If so, then why would you systems support self-continuity and the capacity to feel guilty over losing a pleasure?” Does the “mentally time travel” back to the past and into the therapist make good sense to you? Over the past imagined future. We will examine how shifts in self- century, the concepts of “wisdom” and “ignorance” identity alter the accessibility of our memories and, have been replaced by “health” and “illness.” Vanity in turn, our social and emotional functioning. has been replaced by narcissism and our pretensions Emphasis will also be placed on autobiographical by insecurities. We are asked to accept the seeming memory and self-identity disturbances associated paradox that a person “can always make something with mental illness and the way in which out of what is made of him.” We consult neuropsychologists and neuroscientists study these psychologists and psychiatrists rather than changes following therapeutic interventions. philosophers to become cured rather than educated. The cure is presumably accomplished through a Amandla! Power, Prejudice, series of conversations between patient and doctor, but these are not ordinary conversations. Despite Privilege, and South African more than a century of practice, there remains little Human Development Under and agreement among these practitioners of “health” After Apartheid regarding what the content of the conversations Kim Ferguson (Kim Johnson) should be or the proper roles of doctor and patient. Open, Seminar—Fall Moreover, the relationship between one psychologist It was during those long and lonely years that my and patient is vastly different from the relationship hunger for the freedom of my own people became a of another psychologist and client. Consequently, the hunger for the freedom of all people, white and black. patient who sees a psychoanalyst has a very I knew as well as I knew anything that the oppressor different kind of experience from a patient who must be liberated just as surely as the oppressed. seeks the help of a person-centered therapist or a —Nelson Mandela (1994), Long Walk to Freedom behaviorally-oriented psychotherapist. This course will examine the rules of conversation that govern For it is the dawn that has come, as it has come for a various psychotherapeutic relationships and thousand centuries, never failing. But when that compare those rules with those that govern other dawn will come, of our emancipation, from the fear kinds of relationships, such as those between of bondage and the bondage of fear, why, that is a friends, teachers and students, and family members. secret. —Alan Paton (1948), Cry, the Beloved Country

How do the contexts in which we live influence our The Synapse to Self: The development? And how do these contexts influence Neuroscience of Self-Identity the questions that we ask about development and Adam Brown the ways in which we interpret our observations? In Open, Seminar—Fall this course, we will evaluate from a cultural- It has long been believed that “you are what you ecological perspective these and other key questions remember.” Autobiographical memories are central about development through a discussion of human to how we construct self-identity and experience a development in South Africa during and after the sense of self-continuity. They figure prominently in apartheid era. We will discuss ways in which every aspect of our lives: earliest childhood cognitive, language, and socioemotional recollections, developmental milestones and development and mental and physical health are achievements, personal loss and public tragedy, and influenced by the environments in which we the breakdown of these memories across the life live—which, during apartheid, was determined by span. Conversely, self-identity plays a key role in how the governmental classification of race. Key topics memories are selectively encoded, retrieved, or will include fear, racial stereotyping and 106 Psychology discrimination, identity formation, acculturation and emerging engagement with artificial intelligence globalization, crime and violence, and forgiveness and our attachment to the digital devices and reconciliation. We will also take a broader view themselves. Classes will be both discussion-based of these topics in discussing what human and experiential, with opportunities for observation development in apartheid and post-apartheid South (e.g., observing children relating/engaging in play in Africa can tell us about human development in the Early Childhood Center, free from digital devices) general. In thinking about human development in and in-class activities related to weekly topics (e.g. South African contexts, we will also discuss South comparing experiences engaging with early logic- African psychological research during and after based digital toys, such as Simon and Speak n’ Spell, apartheid, with a view toward understanding more vs. digital toys that express affection such as Furby). broadly how psychological research can both Class reading will include primary- and secondary- influence and be influenced by public policy. How did source academic material from diverse perspectives researchers’ political affiliations,ac r e, ethnicity and in developmental, neuropsychological, clinical, and cultural beliefs and practices affect the questions cultural psychology and related fields. Supplemental they asked, the measures they used, the ways in material will include relevant literature, memoir, which they interpreted their data, and even whether TedTalks, and popular media coverage of related and where they published their research findings? topics. Conference topics may include, but are not Readings will be drawn from both classic and limited to, the role of digital spaces in forming and contemporary research in psychology, human maintaining relationships; relationships formed development, anthropology, sociology, and public through artificial intelligence and/or digital devices; health; from memoirs and other first-hand accounts and/or developmental, neuropsychological, clinical, (including Nelson Mandela’s autobiography); and social and/or cultural perspectives on, or shifts in, from classic and contemporary South African relating in the digital age. Conference projects may literature. We will also view and analyze several be completed in the form of an academic literature classic and contemporary films, including: The Power review, in original data collection, and/or in a of One, Tsotsi, Catch a Fire, and Cry, the Beloved creative piece with academic justification and will Country. include a class presentation.

Virtually Yours: Evolution and Food Environments, Health, and Technology of Relationships in the Social Justice Digital Age Magdalena Ornstein-Sloan Meghan Jablonski Open, Seminar—Fall Open, Seminar—Fall With obesity and diabetes rising at alarming rates This seminar seeks to examine ways in which and growing awareness of the social determinants humans have evolved to relate to each other and be of health and disparities in food access, researchers related to and how our innate relational patterns fit and policymakers are rethinking the role of the (or do not fit) within the apidlyr evolving digital environment in shaping our diets and health. This world. We will consider ways in which digital life is course takes a collaborative approach to changing how people relate and ways in which this investigating some of the key issues guiding this may be challenging for some but beneficial orf area of research and action. Students will critically others. We will begin with relevant historical and review literature on food environments, food access, developmental perspectives on attachment theory, and health inequalities and explore how modes of human bonding, and shifting relational expectations. food production and distribution shape patterns of We will move on to consider how various realms of food availability and inequities in the food system. the digital world (e.g., social media, messaging, Students will use photography and video to examine dating apps, video chats, artificial intelligence, foods available in the neighborhoods where they live, virtual reality) impact our relational patterns, as well review media related to the course themes, and use as aspects of self and identity expression (e.g., of a time/space food diary to reflect on the ways in gender, sexuality, values, beliefs, interests). We will which their own eating habits are influenced by the consider the role of digital spaces in making new social and material settings of their day-to-day lives. connections, building friendships, falling in love, and The course concludes with students writing letters maintaining romantic bonds, as well as bullying, to the editor/op-eds to a news outlet of their choice, revenge, trolling, and potential barriers to empathy with suggestions about how to move forward with that may occur when our gazes are fixed on screens action to improve food access, public health, and and not on each other. We will also consider our social justice in the places where they live. Students THE CURRICULUM 107 may have the opportunity to engage in community- in the womb really make children more intelligent? based service learning and/or research, with the What about Metallica? What is intelligence, anyway? possibility of conference projects resulting from that Why are phone numbers seven digits long? And why experience. do children learn language better from an adult, in- person, than from the same adult on television? In Perspectives on Child this course, we will attempt to answer all of these questions and many more that you may have about Development how we process visual and auditory information, Charlotte L. Doyle first put things in atc egories, solve simple and Open, Seminar—Spring complex problems, communicate with each other A noted psychologist once said, “What you see and with our pets, and remember how to ride a depends on how you look.” Our subject is the worlds bicycle and how to get to New York City. To answer of childhood; and in this class, we try out the lenses these questions, we will read and discuss both of different psychological theories to highlight theory and research in developmental psychology, different aspects of those worlds. Freud, Erikson, psychobiology, linguistics, anthropology, cognitive Bowlby, and Stern provide differing perspectives on neuroscience, and philosophy on various aspects of emotional development. Skinner, Bandura, Piaget, cognitive development across the life span in and Vygotsky present various approaches to the different cultural contexts, focusing on infancy, problems of learning and cognition. Chess and her childhood, and adolescence. We will also discuss colleagues take up the issues of temperament and both the usefulness and the limitations of this its interaction with experience. Chomsky and others research in light of the populations studied and the deal with the development of language. We will read methodologies employed. Topics will include the theorists closely for their answers but also for perception, categorization, reasoning, theory of mind their questions, asking which aspects of childhood and autism, language and thought, multilingualism each theory throws into focus. We will also examine and second-language acquisition, social cognition, some systematic studies that developmental memory, metacognition and metamemory, psychologists have carried out to confirm, estt , and consciousness, and competence in context. critique various theories: studies of mother-infant relationships, the development of cognition and language, and the emergence of intersubjectivity. In Reality in an Age of Uncertainty: several of these domains, studies done in cultures Clinical, Developmental, and other than our own cast light on the question of Sociocultural Perspectives universality versus cultural specificity in Meghan Jablonski development. Direct observation is an important Open, Seminar—Spring complement to theoretical readings. In this class, all Reality leaves a lot to the imagination. —John students will do fieldwork at the Early Childhood Lennon Center. At times, we will draw on student observations to support or critique theoretical This course seeks to examine how reality has been concepts as part of the seminar. The fieldwork will defined historically, clinically, and culturally; how also provide the basis for developing conference one’s sense of reality is shaped through work. Ideally, conference projects combine the development; and what internal, environmental, interests of the student, some library reading, and social, and cultural factors contribute to one’s sense some aspect of fieldwork observation. Among the of reality. Can reality ever truly be objective? What many diverse projects students have designed in the internal factors shape our perception of reality? How past are topics such as children’s friendships, the does our mind determine if an external source is meanings of block building, and how young children reliable? What happens when an individual’s ability use language. to perceive reality is impaired or altered? How is one’s sense of reality impacted when trusted Babies, Birds, and ’Bots: An sources distribute lies, misinformation, and fake news and/or serve as echo chambers—only Introduction to Developmental reinforcing, never challenging, particular biases and Cognitive Science distortions? How can a sense of center be found in a Kim Ferguson (Kim Johnson) time of uncertainty? We will begin the semester by Open, Seminar—Spring examining the innate, developmental, cultural, and Do lemurs see red? Do you? What about newborns? social psychological factors that shape our Do you really have déjà vu? Does listening to Mozart perception of reality and our choice of reliable 108 Psychology sources, including the roles of race, gender, and involvement facilitated by the Office of Community ethnicity in these processes. We will consider how Partnerships, with the possibility of conference psychological constructs and psychometric projects resulting from that experience. measures of reality have taken these factors into consideration, both currently and historically. We will Psychological Illness, next consider ways in which one’s sense of reality may be impacted by clinical conditions such as brain Neurodiversity, and Human injury, psychosis, depression, trauma, and anxiety; Creativity: Perspectives From altered by substances such as psychedelics; or Clinical Psychology and influenced by dreams and potentially enhanced Neuroscience through meditation. We will then consider how the David Sivesind content, pace, and sheer volume of information Open, Seminar—Spring currently cycling through social media and 24-hour This seminar considers that difficult-to-identify news outlets may impact our perception of reality. dividing line between psychological illness and Seminar classes will meet twice weekly and be human variation that contributes to our creative discussion-based, informed by weekly reading leaps (artistic or other creativity) from the vantage assignments. Class reading will include primary- and point of clinical psychology. A quick Internet search secondary-source academic material from diverse will reveal historical creative luminaries proposed to perspectives in developmental, clinical, cultural have suffered from some form of psychological psychology and related fields. Supplemental material illness. We will consider that slippery clinical will include relevant literature, memoir, TedTalks and evaluation of “normal limits” that is often evoked as popular media coverage of related topics. an ill-defined and subjective comparative standard Conference work may include, but is not limited to, in taxonomies of psychological illness. We will developmental, clinical, cultural, environmental, consider the notions/movement of neurodiversity. and/or historical perspectives on reality. Conference We will incorporate views from the anti-psychiatry/ projects may be completed in in the form of an anti-psychology movements while also not losing academic literature review, original data collection, sight of the suffering involved for many who are and/or a creative piece with academic justification identified with various psychological disorders. To and will include a class presentation. understand these movements against the current format of diagnosis, we will also have the class Wherever You Go, There You Are: objective of understanding the use, usefulness, An Exploration of Environmental scientific backing, and aim of current taxonomies of Psychology those diagnoses that we explore for the class. We will consider work in this domain by experts such as Magdalena Ornstein-Sloan Kay Jamison, Oliver Sacks, John Elder Robinson, and Open, Seminar—Spring others. We will explore historical views regarding the This course explores the relationship between connection between “madness and genius,” as well physical and social environments and human as contemporary psychology explorations of the behavior. Utilizing qualitative methodologies topics involved in this proposed connection. (autoethnography and photovoice), we will critically explore human interactions from the body, the home, and the local to the globalized world, with a return to Advanced Research Seminar the individual experience of our physical and social Kim Ferguson (Kim Johnson) , Elizabeth Johnston, environments. As a survey course, we will cover Linwood J. Lewis, Adam Brown myriad topics that may include food (in)security and Intermediate, 3-credit seminar—Year alternative food networks, informal family In this seminar, students will gain valuable research caregiving, urban/rural/suburban relationships, experience through a weekly meeting focused on gentrification, urban planning, environmental research methods, research ethics, and sustainability, globalization, social justice, and contemporary research questions and approaches; a varying conceptualizations and experiences of weekly lab meeting with one of the faculty members ”home” based on gender, race, class, and people leading the research seminar; and individual and with disabilities. Topics will ultimately be driven by group conference meetings with faculty supervisors student interest. Films and a field trip will be on a regular, as-needed basis. The seminar incorporated. Students are encouraged to participate component will include readings on, and discussions in service learning through local community of, research methods and ethics, both broad and specific ot the research in which students are THE CURRICULUM 109 involved, as well as the discussion of contemporary method (commonly referred to as research articles that are relevant to student and “Methodenreinheit”), rooted in the perceived faculty research projects. All faculty and students objectivity of experimentation, to explain the social involved in the research experience will take turns world. Yet, at the same time, another type of social leading the discussion of current research, with psychology tries to capture the complexity of faculty taking the lead at the beginning of the individual humans as social beings, which often semester and students taking the lead as their escapes standard methods of quantitative expertise develops. Weekly lab meetings will also measurements and, therefore, calls for a different involve reading and discussing research articles and methodology. This seminar is an epistemological research methods in papers specific ot the topics of exploration of the duality between the sociological research being undertaken by each student and forms of social psychology and the psychological faculty member. Students will be expected to learn forms of social psychology. In fostering the the current research approaches being employed by emergence of social psychology, the psychological their supervising faculty member, contribute toward perspective encouraged greater collaboration with ongoing research in the form of a research the natural sciences and the pursuit of truth with practicum, and develop and implement their own the use of the scientific method. Similarly in independent research projects within the labs in sociology, key thinkers of the discipline have failed which they are working. Faculty supervising each lab to recognize the role of social psychology in the will also be available to meet with students social sciences and quickly discarded it as simply a individually and in small groups on an ongoing basis, “subfield.” Social psychology is still struggling with as needed, and at least every other week in addition how to reconcile this dichotomy into a more to the regular weekly, hour-long lab meeting. productive synthesis. We will examine some of the Students participating in the Advanced Research issues that have prevented social psychology from Seminar will be expected to attend and actively playing a more important role in dealing with the participate in weekly full-group seminars, weekly lab complexities of human affairs in relation to their meetings, and regular (typically, at least biweekly) social world. individual and group conference meetings; keep an ongoing journal and/or scientific lab notebook; Bullies and Their Victims: Social select and facilitate group and lab discussions of relevant contemporary research articles (at least and Physical Aggression in once for each meeting type); work at least five hours Childhood and Adolescence within a lab and/or community setting, as Carl Barenboim appropriate for their projects; contribute toward Intermediate, Seminar—Fall ongoing research and practice within their lab or It can be the bane of our existence in childhood: the community setting; develop, implement, and report bully who simply will not leave us alone. Until fairly on (in the form of a short paper prepared for recently, the image that came to mind—in both the possible publication and a poster at the Natural popular imagination and the world of psychological Sciences and Mathematics Poster Session) an study—was that of a physically imposing and independent research project; and provide their physically aggressive boy, someone who found the colleagues with ongoing verbal and written feedback littlest, most defenseless boy to pick on. In recent on their projects. Permission of the instructor is years, however, that image has begun to change. required. Now we realize that the ability to harm a person’s social relationships and social “standing,” usually The Epistemological Relevance of through the manipulation of others, can be every bit as devastating to the victim. And in this new world of Social Psychology social aggression, girls’ expertise has come to the Gina Philogene fore. In this course, we will study the nature of Intermediate, Seminar—Year bullies and victims—in both the physical and social This class is dedicated to Clarence Edwin Ayres sense—and the possible long-term consequences of (1891-1972), who nearly a century ago (1918) started such bullying for both the perpetrator and the picked asking questions about the role of social psychology upon. We will explore recent evidence that bullying in the social sciences, as well as its relevance to and victimization begin even in the preschool years, everyday life. He questioned the duality between a far earlier than previously thought; and we will quantitative and a qualitative social psychology. In examine some modern approaches used to break other words, one type of social psychology this vicious cycle, such as peer programs and systematically uses the purity of the scientific interpersonal problem solving. Conference work may 110 Psychology include field placement at the Early Childhood Center aspects of the process. In particular, we see how or other venues, as interactions with real children some thinkers emphasize persistent work and expert will be encouraged. Prior coursework in psychology is knowledge as essential features, while others required. emphasize the need for the psychic freedom to “let it happen”and speculate on what emerges when the Abnormal Psychology creative person “lets go.” Still others identify cultural context or biological factors as critical. To Adam Brown concretize theoretical approaches, we look at how Intermediate, Seminar—Fall various ideas can contribute to understanding According to recent data, approximately half of all specific creative people and their work. In particular, Americans will meet the criteria for a psychological we consider works written by or about Picasso, disorder at some point in their lives, and about 25% Woolf, Welty, Darwin, and some contemporary artists of adults in the United States may have suffered and writers. Though creativity is most frequently from a mental illness in the past year. Why are rates explored in individuals, we also consider group of mental illness so high, and what can we do to improvisation in music and theatre. Some past reduce these figures? What does it mean to be conference projects have involved interviewing mentally ill, and who decides? Where do we draw the people engaged in creative work. Others consisted of line between normal and abnormal, and what kinds library studies centering on the life and work of a of methods do we use in psychology and particular creative person. Some students chose to neuroscience to make this determination? This do fieldwork at the Early Childhood Center and focus course will serve as an introduction to the field of on an aspect of creative activity in young children. abnormal psychology. We will cover theoretical Background in college-level psychology or philosophy frameworks, research methods, and treatments is required. associated with a range of psychological disorders, such as depression, anxiety, schizophrenia, addiction, and personality disorders. In addition, we Personality Development will discuss historical, political, and cultural Jan Drucker influences that shape the way in which mental Intermediate, Seminar—Fall illness has been defined, eprr esented, and treated. A century ago, Sigmund Freud postulated a complex Course materials will draw on experimental and theory of the development of the person. While some theoretical research, memoirs, films, and clinical aspects of his theory have come into question, many case studies. This course will be of particular of the basic principles of psychoanalytic theory have interest to students interested in pursuing graduate become part of our common culture and worldview. school or careers working in fields elatr ed to clinical This course will explore developmental and clinical psychology. concepts about how personality comes to be through reading and discussion of the work of key Theories of the Creative Process contributors to psychoanalytic developmental theory since Freud. We will trace the evolution of what Pine Charlotte L. Doyle has called the “four psychologies of Intermediate, Seminar—Fall psychoanalysis”—drive, ego, object, and self- The creative process is paradoxical. It involves psychologies—as well as the integrative “relational freedom and spontaneity yet requires expertise and perspective”; and we will consider the issues they hard work. The creative process is self-expressive raise about children’s development into individuals yet tends to unfold most easily when the creator with unique personalities within broad, shared forgets about self. The creative process brings joy developmental patterns in a given culture. Readings yet is fraught with fear, frustration, and even terror. will include the work of Anna Freud, Erik Erikson, The creative process is its own reward yet depends Margaret Mahler, Daniel Stern, Steven Mitchell, on social support and encouragement. In this class, Nancy Chodorow, and George Vaillant. Throughout we look at how various thinkers conceptualize the the semester, we will return to fundamental themes creative process—chiefly in the arts but in other such as the complex interaction of nature and domains, as well. We see how various psychological nurture, the unanswered questions about the theorists describe the process, its source, its development of personal style, and the cultural motivation, its roots in a particular domain or skill, dimensions of personality development. Fieldwork at its cultural context, and its developmental history in the Early Childhood Center or another appropriate the life of the individual. Among the thinkers that we setting is required, although conference projects consider are Freud, Jung, Arnheim, Franklin, and may or may not center on aspects of that experience, Gardner. Different theorists emphasize different THE CURRICULUM 111 depending on the individual student’s interest. For conference work, students will be encouraged to do graduate students and for juniors and seniors with fieldwork at the Early Childhood Center or in another permission of the instructor. setting with children, as one goal of the course is to bridge theory and practice. For graduate students Individualism Reconsidered: and for seniors with permission of the instructor. Beyond Pride and Shame Marvin Frankel Moral Development Intermediate, Seminar—Fall Carl Barenboim “Sticks and stones may break your bones, but names Intermediate, Seminar—Spring will never harm you.” Can anything be further from For thousands of years, philosophers have struggled the truth? This course will examine how reputation with the questions surrounding the issue of morality. in all its guises shadows our lives. Do we not Over the past hundred years, psychologists have dispense praise and blame to control the lives of joined the fray. While many theories exist, a unifying others? Can we deny that pride and shame represent theme centers upon the notion that childhood is the the rewards and punishments that we employ to crucible in which morality is formed and forged. In imprison ourselves? Can we inhabit a world that this course, we will explore the major theories goes beyond pride and shame? For example, consider dealing with three aspects of the development of the following tale: Alexander the Great allegedly morality: moral thought, or reasoning (e.g., Piaget, came across the philosopher Diogenes, clothed in Kohlberg); moral feelings (psychoanalytic rags and taking a sunbath while reclining on the approaches, including Freud, and the modern work street. According to one version of this tale, on the importance of empathy and mirror neurons); Alexander asked Diogenes if there were anything he and moral actions, or behavior (behaviorism, social- desired. If there were, then certainly Alexander learning theory). In addition, we will investigate the would grant his wish. Diogenes waved his hand and possible relations among these three aspects of replied: “Stand out of my light.” Addressing his moral development. For example, how is moral troops, Alexander exclaimed, “If I were not Alexander thought connected to moral action? Throughout the the Great, I would like to be Diogenes.” What of you, course, we will relate moral development theory to dear student? the results of research investigations into this crucial aspect of child development. Conference work may include direct experience with children or Theories of Development adolescents in the form of either detailed Barbara Schecter observations or direct interaction (interviews, etc.). Intermediate, Seminar—Fall Prior course in psychology is required. “There’s nothing so practical as a good theory,” suggested Kurt Lewin almost 100 years ago. Since then, the competing theoretical models of Freud, Experimental Psychology Skinner, Piaget, Vygotsky, and others have shaped Research Seminar the field of developmental psychology and have been Adam Brown used by parents and educators to determine child- Intermediate, Seminar—Spring care practice and education. In this course, we will Psychological science attempts to study complex study the classic theories—psychoanalytic, human behavior, emotions, and cognitive processes behaviorist, and cognitive-developmental—as they through research and experimentation. Over the were originally formulated and in light of course of the semester, students will have the subsequent critiques and revisions. Questions we opportunity to develop both a strong foundation in will consider include: Are there patterns in our the theories, techniques, and ethical questions that emotional, thinking, or social lives that can be seen have guided psychology research and the as universal, or are these always culture-specific? opportunity to put their ideas into practice. A major Can life experiences be conceptualized in a series of component of this course will involve generating stages? How else can we understand change over hypotheses and designing studies, carrying out time? We will use theoretical perspectives as lenses original research, learning how to analyze and through which to view different aspects of interpret data, and writing up and presenting experience—the origins of wishes and desires, early findings. eadingsR will span research from a variety parent-child attachments, intersubjectivity in the of subfields in psychology (clinical, developmental, emergence of self, symbolic and imaginative social), and assignments will involve both individual thinking, and the role of play in learning. For and group work. A variety of research designs will be 112 Psychology discussed and evaluated throughout the semester, our language abilities are a large part of what makes such as case studies and observational, cross- us uniquely human. Are we, in fact, the only species sectional, longitudinal, and experimental with true language? And how would we begin to approaches. Students do not need a background in answer this question? In this course, we will attempt statistics, but prior coursework in psychology is to answer this and other key questions in the broad required. field of language development through both our discussions of current and contemporary research Challenges to Development: Child and theory and the development of new research in this field. Current “hot” research topics include and Adolescent Psychopathology whether bilingual children have better control over Jan Drucker what they pay attention to than monolingual Intermediate, Seminar—Spring children (attention and language); whether This course addresses the multiple factors that play language influences thought; whether language a role in shaping a child’s development, particularly acquisition is biologically programmed; and why as those factors may result in what we think of as children learn language better from an adult, in- psychopathology. Starting with a consideration of person, rather than the same adult on television. what the terms “normality” and “pathology” may Over the course of the semester, you will have the refer to in our culture, we will read about and opportunity to design an independent research discuss a variety of situations that illustrate project that investigates either one of these key different interactions of inborn, environmental, and questions or another question of interest to you in experiential influences on developing lives. For the broad area of language development. In doing example, we will read theory and case material this, you will learn how to outline the rationale for a addressing congenital conditions such as deafness research project, develop an effective research and life events such as acute trauma and abuse, as methodology, collect data, analyze the data, well as the range of less clear-cut circumstances interpret your results, and communicate your and complex interactions of variables that have an findings in a persuasive, yet objective, manner. This impact on growth and adaptation in childhood and course thus serves as an introduction to research adolescence. In discussing readings drawn from methods, with a specific ocusf on research methods clinical and developmental psychology, memoir, and in psycholinguistics, through your own research. research studies, we will examine a number of the Topics will include experimental research design, current conversations and controversies about case studies, observational techniques, survey assessment, diagnostic/labeling, early intervention, development, and hypothesis testing. To help you use of psychoactive medications, and treatment design and implement your own research, we will modalities. Students will be required to engage in discuss your conference research projects in class fieldwork at the Early Childhood Center or elsewhere throughout the semester. You will obtain feedback and may choose whether to focus conference from your colleagues on your questions, methods, projects on aspects of that experience. For graduate analyses of the data, and interpretation of the students and for juniors and seniors by permission of results. This project could include fieldwork at the the instructor. Early Childhood Center or in another setting with children. Previous course work in psychology or Language Research Seminar permission of the instructor is required. Kim Ferguson (Kim Johnson) Intermediate, Seminar—Spring The Empathic Attitude The baby, assailed by eye, ear, nose, skin, and entrails Marvin Frankel at once, feels it all as one great blooming, buzzing Intermediate, Seminar—Spring confusion. —William James (1890) It is when we try to grapple with another man’s intimate need that we perceive how The acquisition of our first language is “doubtless incomprehensible, wavering, and misty are the the greatest intellectual feat any of us is ever beings that share with us the sight of the stars and required to perform” (Bloomfield), ety this feat was the warmth of the sun. —Joseph Conrad essentially accomplished by the time we were three years old—and we likely have no memory of it. We mark with light in the memory the few interviews Furthermore, human language fundamentally we have had, in the dreary years of routine and of sin, influences human ecology, culture, and evolution. with souls that made our soul’s wiser; that spoke Thus, many contemporary researchers in the interdisciplinary field of psycholinguistics argue that THE CURRICULUM 113 what we thought; that told us what we knew; that phenomena and what is known about brain gave us leave to be what we…were. —Emerson, processing of visual information. This is a course for Divinity School Address, 1838 people who enjoy reflecting on why we see things as we do. It should hold particular interest for students After graphically describing her predicament to her of the visual arts who are curious about scientific cousin Molly, Sarah asked: “So, do you understand?” explanations of the phenomena that they explore in “Yes, I do, I certainly do,” her cousin replied. “You their art, as well as students of the brain who want do?” Sarah asked again. “Most emphatically, I do.” to study an application of visual neuroscience. “Then you agree with me?” “Oh no.” “You sympathize with me then?” “No, I don’t.” “Then you at least see it from .” “Hardly.” “Then what do you Play in Developmental and understand?” “You are simply a fool!” “How dare you Cultural Context judge me?” “If I see it from your point of view, I shall Barbara Schecter only be a different kind of judge. My dear Sarah, don’t Intermediate, Seminar—Spring you see that there is no escaping judgment?” For many years, the conviction has grown upon me that civilization arises and unfolds in and as play. For Conrad, the other is so shrouded in mists that our —Huizinga, Homo Ludens empathic understanding must necessarily fall short. For Emerson, an empathic rapport is rare but Many adults look back fondly on their memories of possible. As for Sarah and Molly, what can we say? childhood play and the rich imaginary worlds Do they completely fail to understand each other, or created. Yet, play in our current sociopolitical do they understand each other only too well? Indeed, climate is threatened by the many demands of our what do we mean by understanding in this context? over-regimented lives and standardized goals of Too often, understanding is confused with education. In this course, we will look closely at the agreement or the absence of judgment. This course amazing complexity of those playworlds and at the will examine what an empathic understanding many aspects of children’s experiences through play. entails and the function of empathy in defining Observing and reading about play offer the areas of conflict, as well as in the resolution of opportunity to understand children’s thinking, conflict. In brief, the empathic attitude requires us to communicating, problem solving, nascent enjoy and appreciate the differences between storytelling, and emotional and imaginative lives. We ourselves and others even as we attempt to bridge will also consider the variations in play within those differences. different family and cultural contexts, as well as play’s relationship to scientific and aesthetic Art and Visual Perception activities of adult life. Other topics will include therapeutic uses of play, importance of play for early Elizabeth Johnston literacy, and the re-invigoration of the phenomenon Intermediate, Seminar—Spring of adventure play in the United States, at SLC in the Seeing comes before words. The child looks and form of our CAPEs, and abroad. Students will be recognizes before it can speak. —John Berger encouraged to choose a context in which to observe Psychologists and neuroscientists have long been and/or participate in play either at our Early interested in measuring and explaining the Childhood Center or in other settings with children or phenomena of visual perception. In this course, we adults. Prerequisite: Previous coursework in will study how the visual brain encodes basic psychology or a related social science. aspects of perception—such as color, form, depth, motion, shape, and space—and how they are Other courses of interest are listed below. Full organized into coherent percepts or gestalts. Our descriptions of the courses may be found under the main goal will be to explore how visual neuroscience appropriate disciplines. and art-making can inform each other. One of our An Introduction to Statistical Methods and guides in these explorations will be the Analysis (p. 78), Daniel King Mathematics groundbreaking gestalt psychologist Rudolf Arnheim, Body and Soul: Drawing From Life (p. 146), Gary who was a pioneer in the psychology of art. The more Burnley Visual and Studio Arts recent and equally innovative text by the Color (p. 145), Gary Burnley Visual and Studio Arts neuroscientist Eric Kandel, Reductionism in Art and Brain Science, will provide our entry into the subject of neuroaesthetics. Throughout our visual journey, we will seek connections between perceptual 114 Public Policy PUBLIC POLICY contained as politics-as-usual? And, finally, is there a liberatory potential to fundamentally reshape society via protest? Sarah Lawrence College’s public policy program addresses the most pressing public policy issues of our time, including promoting peace, protecting the Constructing Citizenship, environment, providing education and health Dismantling Hierarchies: The services, and safeguarding human and workers’ Immigrant and Racial Struggle for rights. Supported by the College’s Office of Political Equality Community Partnerships, students partner with Luisa Laura Heredia unions, community organizations, and legal groups Sophomore and above, Seminar—Year in the New York City area as a required element of In the past few years, we have witnessed the their coursework, gaining direct experience that undocumented, African Americans, and Latinos they can relate to theoretical issues. taking to the streets in protest, engaging in acts of Students also participate in international civil disobedience, calling and writing letters to fieldwork, including at a labor research exchange in policymakers, and participating in a variety of other Cuba, a health-care worker conference in the political activities. Meanwhile, organizations—newly Dominican Republic, a community-organizing project created and long standing, political and to help establish a medical clinic for residents of the nonpolitical—are joining in by organizing political impoverished community of Lebrón in the Dominican actions and lobbying on behalf of marginalized Republic, and a study trip to the United States/ groups. Still, the impetus for these demonstrations, Mexico border area of El Paso/Juarez. This the mixed and sometimes nativist public reactions combination of study and direct experience exposes toward marchers, and the continued passage and students to various approaches to problems and implementation of punitive enforcement policies are builds an enduring commitment to activism in many also a reminder of the political marginalization of forms. immigrant and racial and ethnic groups in the United States. This course examines this heightened The Art of Protest activism by situating it within historical political and Luisa Laura Heredia social contests over citizenship in the United States. Open, Seminar—Year The first part of the oursec will draw from immigrant Contentious, collective action is everywhere. adaptation, minority political incorporation, and Especially now, it is easy to recall the images of social movements to examine the political undocumented youth activists staring down incorporation of immigrant and racial groups in the Immigration and Customs enforcement officials or United States. The second part of the course will the face-off between protestors and police in provide a historical overview of citizenship and its Ferguson over the shooting of Michael Brown and the legal and social constructions at key moments “Hands Up, Don’t Shoot” meme launched in solidarity. throughout US history. Specifically, we will examine Protest is (and has been) a major form of claims- moments in which citizenship was being making for groups that find their oicv es shut out of constructed, challenged, and resettled. Citizenship is traditional institutional spaces. People take to the a multifaceted concept that is not fixed; rather, it is streets to challenge policies and systemic violence; constantly being negotiated, contested, and they collectively resist in their workplaces; and they reformulated. Students will not only be engaging in confront and assert their place in distinct theoretical and empirical debates about citizenship organizational spheres of society. Through their but also will be asked to consider their own role in activism, they create alternative social and political its contestation. spaces in their efforts to effect change by reforming or dismantling dominant societal institutions. In this Other courses of interest are listed below. Full course, we will bridge the academic literature on descriptions of the courses may be found under the social movements and protest with case studies of appropriate disciplines. different movements in the United States and transnationally. We will imagine and reimagine what Introduction to Economic Theory and Policy (p. 28), a just society looks like and how protest can help to Kim Christensen Economics create that society—but also where it fails. First-Year Studies: Introduction to Development Students will consider questions such as: Why do Studies: The Political Ecology of people protest? What gains can be made via Development (p. 47), Joshua Muldavin protest? How is protest policed, co-opted, or Geography THE CURRICULUM 115

The Geography of Contemporary China: A Political wandering nomads would get together and tell Ecology of Reform, Global Integration, and Rise stories. These stories were not preserved on stone to Superpower (p. 47), Joshua Muldavin tombs but in the hearts and memories of the people Geography to whom they belonged. We will read the collection First-Year Studies: In the Tradition: An Introduction of traditions in a book called Genesis and compare to African American History (p. 52), Komozi these stories with other texts (written in mud and Woodard History stone) such as The Epic of Gilgamesh and The Human Rights (p. 53), Mark R. Shulman History Babylonian Creation Epic, which were contemporary International Law (p. 53), Mark R. Shulman History with biblical traditions. We will read the biblical epic Crossing Borders and Boundaries: The Social of liberation, Exodus; the historical books that weave Psychology of Immigration (p. 104), Gina theology into a history of a nation; and the oracles of Philogene Psychology the great Hebrew prophets of Israel, those Food Environments, Health, and Social reformers, judges, priests, mystics, and poets to Justice (p. 106), Magdalena Ornstein-Sloan whom modern culture owes its grasp of justice. We Psychology will trace the social, intellectual, and political history of the people formed by these traditions from the Late Bronze until the Roman age. RELIGION First-Year Studies: Islam Kristin Zahra Sands Religious traditions identify themselves with, and Open, FYS—Year draw sustenance from, the texts that they hold This course will provide a comprehensive sacred. In Sarah Lawrence College religion courses, introduction to the foundational texts of Islam, the these texts command and hold our attention. As historical development of different Muslim cultures, students explore the sacred text of a particular and the contemporary issues that animate Islam’s religion—whether studying Buddhism, early ever-evolving manifestations. We will begin with the Christianity, or the origins of Islam—they gain Qur’an, a book whose juxtaposition of narrative insight into the social and historical context of its fragments, apocalyptic imagery, divine voice, and creation. Using critical, hermeneutical, and sociopolitical themes conveyed in rhymed Arabic intellectual historical approaches, students enter prose has both entranced and confounded readers. into the writings in such depth as to touch what We will look at the historical roots of the “isms” used might be the foundation of that religion. In addition, today to describe the orientations of Sunnism, work with contemporary texts (such as those by Shi‘ism, Sufism, and Salafism.ooking L beyond the religious activists on the Internet) gives students Middle East, where only about 20% of the current insight into what most moves and motivates global population of Muslims reside, we will examine religious groups today. The College’s religion courses how migrating people, concepts, texts, and practices provide an important complement to courses in both transform and are transformed by existing Asian studies and history. traditions in different geographical locations. Contemporary preoccupations such as the status of First-Year Studies: The Hebrew women in Islam and the relationship between Islam Bible and violence will be examined from a variety of Cameron C. Afzal perspectives, illustrating the intricacies of Muslim Open, FYS—Year and non-Muslim acts of interpretation and their The Hebrew Bible stands at the foundation of relationship to power and authority. Western culture. Its stories permeate our literature, our art...indeed, our sense of identity. The Hebrew Bible's ideas inform our laws, have given birth to our The Jews in Europe revolutions and social movements, and have thereby Glenn Dynner made most of our social institutions possible (as Open, Lecture—Fall well as the movements to remove them). What is this How did a Jewish civilization develop throughout the book? How was it written? Who wrote it? Who triumph of Christianity in the West? This course preserved it for us? Why has all or part of this body conceives of Jewish culture as a counterpoint to the of literature been considered holy to the dominant cultures of Europe. We begin with the practitioners of Judaism and Christianity? Four arrival of Jews to the Roman Empire and proceed to thousand years ago, various groups from small tribe- the more insular “Ashkenazic” Jewish communities of medieval France and Germany. Next, we explore 116 Religion “Sephardic” Jewry emanating from Spain, including The Buddhist Tradition in East Asia worldly poets and philsophers, other-worldly T. Griffith Foulk Kabbalists, and secret Judaizing “conversos” Open, Lecture—Spring throughout the Inquisition. We then follow the exiles This introductory course focuses on the Buddhism of of Spain as they begin openly practicing Judaism East Asia: China, Korea, Japan, and Vietnam. again in other locales; trace the growth of the Buddhism first began ot take root in China in the popular movement around the false messiah early centuries of the Common Era, having been Shabbetai Tzvi; and witness the blossoming of Jewish transmitted from India via Central Asia and the life in Eastern Europe, with its extensive self-rule, maritime states of Southeast Asia. Buddhism initially new economic niches, and world-renowned yeshivas. met with much resistance, being branded an "alien" In the last part of the course, we examine the cult that was at odds with native Chinese (especially dissolution of the “ghetto” during the process of Confucian) values. Eventually, however, the Indian emancipation, the rise of more virulent forms of religion adapted to Chinese culture and came to have anti-Semitism, modern political responses like a profound influence on it, spawning new schools of Zionism and Socialism, and the destruction of Buddhism such as Tiantai, Huayan, Pure Land, and European Jewry during the Holocaust. Throughout, Chan (called Zen in Japan). The smaller neighboring we will attempt to balance manifestations of anti- countries that fell under the sway of Chinese Semitism with positive features of Jewish life like civilization—Korea, Japan, and Vietnam—first economic innovation, political activism, and spiritual imported forms of Buddhism that had taken shape in developments (Hasidism, Haskalah, and Reform, China, not India; but each, in turn, further changed Orthodox, and Ultra-orthodox Judaism). the religion in ways that accorded with their own indigenous cultures. Equal attention is paid in this The Buddhist Tradition in India, course to (1) matters of philosophy and doctrine, (2) Tibet, and Southeast Asia religious rites and practices, and (3) social and T. Griffith Foulk institutional arrangements. The lectures are Open, Lecture—Fall accompanied by copious audiovisual materials. The This intoductory course treats the evolution of course has no prerequisite but is suitable for Buddhism in India from the origins of the religion as students who have already taken the companion a group of "world-renouncing" ascetics through the lecture, The Buddhist Tradition in India, Tibet, and development of large, state-supported monastic Southeast Asia, which is offered in the fall. communities and the emergence of the major reform movements known as Mahāyāna and Tantra. The Chan and Zen Buddhism course also focuses on the Buddhism of two regions T. Griffith Foulk of the world—Southeast Asia and the Tibetan Open, Seminar—Year plateau—where the respective traditions have been This course is an in-depth, historical examination of most self-consciously concerned with maintaining the philosophy, mythology, literature, institutional precedents inherited from India. Equal attention is arrangements, religious practices, art, and paid to (1) matters of philosophy and doctrine, (2) architecture associated with this most famous and religious rites and practices, and (3) social and widely misunderstood branch of East Asian institutional arrangements. The lectures are Buddhism. The Chan (Zen) school of Buddhism arose accompanied by copious audiovisual materials. in China as the result of a cross-cultural exchange of Readings include An Introduction to Buddhism: epic proportions: the gradual intrusion of an alien Teachings, History, and Practices, 2nd ed., Peter set of religious ideas, values, and practices—those Harvey, Cambridge University Press, 2013. For belonging to Indian Buddhism—into China between students who wish to continue studying the the first and the eighth entc uries of the Common Era development of the Buddhist tradition in other parts and the subsequent efforts of some 20 generations of the world, a companion lecture course, The of Chinese Buddhists to defend, adapt, domesticate, Buddhist Tradition in East Asia, is offered in the and finally make the foreign religion entirely their spring semester. own. Chan became the most "Chinese" school of Buddhism by defining itself in ermst of indigenous concepts of clan genealogy, by exalting members of its spiritual lineage as native-born buddhas, and by allowing those buddhas to speak in the vernacular, using a mode of rhetoric that was heavily influenced by the Confucian and Daoist traditions. The course THE CURRICULUM 117 begins by outlining the Indian Buddhist doctrines contributed to its intellectual and creative heritage and practices that were imported into China and by in substantial ways. Material studied throughout the summarizing the indigenous cultural milieu that was year will include many examples from the rich body initially quite hostile to the alien religion. It then of American Muslim memoirs, social and political explores the various compromises and adaptations critique, theology, literature, poetry, and art. of Indian Buddhist teachings, practices, and institutions that took shape within the Chan The Holocaust tradition and enabled it to emerge in the Song dynasty (960-1278) as the predominant school of Glenn Dynner Chinese Buddhism. The main theme of the second Open, Seminar—Spring semester is the transmission of the Chan school of The Holocaust raises fundamental questions about Buddhism to Japan, where it became known as Zen, the nature of our civilization. How could a policy of and the subsequent development of the tradition in genocide be carried out by one of the most advanced that country from the 13th century to the present. and sophisticated countries of Europe? In this Books and readings include Encyclopedia of course, we will examine how these appalling events Buddhism and Zen Masters of Meditation in Images took place, beginning with anti-Semitic ideology and and Writings, Brinker, both PDF files; Buddhist policy. At the same time, we will confront a Wisdom: The Diamond Sutra and the Heart Sutra, surprisingly neglected perspective of the victims, Conze, Edward, trans., Vintage, 2001; ; and The whose perspective—how they chose to respond to Vimalakirti Sutra, Watson, Burton, trans., Columbia the impending catastrophe (through art, diary- University Press, 2000. A background knowledge of writing, mysticism, violence, hiding, etc.)—has not East Asian history, languages, or religions is been integrated into an overall history of the desirable but not required. Holocaust. Finally, we will attempt to come to grips with the crucial but neglected phenomenon of bystanders—non-Jews who stood by while their American Muslims: History, neighbors were methodically annihilated, rescued Politics, and Culture Jews, or became perpetrators themselves. We shall Kristin Zahra Sands inevitably be compelled to make moral judgments. Open, Seminar—Year But these will be of value if they are informed and The United States has a long and complicated history based on a fuller understanding of the perspectives with its very diverse body of Muslim citizens. Muslim of the various actors in this dark chapter of slaves were brought involuntarily to this country and European history. forcibly kept from practicing their religion. Many of their descendants began to rediscover Islam in the Jewish Mysticism From Antiquity early 20th century and were joined by an increasing to the Present number of Muslim immigrants after the Immigration and Nationality Act ended racial quotas on Glenn Dynner immigration in 1965. White converts joined them Sophomore and above, Seminar—Year throughout the years. Although Muslims currently This course examines a vibrant countertrend within comprise only 1% of the American population, their Judaism known as mysticism. We begin with the significance goes well beyond their numbers. biblical and ancient “Chariot” mysticism, proceed to Beginning with Malcolm X in the 1950s and early ascetic medieval German pietism, and dwell at 1960s and continuing to the post-9/11 era in the 21st length on the erotically-charged “Kabbalah” that century, perceptions about Muslims have functioned emerged in medieval Spain and Southern as barometers of deep social and political anxieties. France—observing its unique conceptions of God, To carefully examine these anxieties is to expose evil, demonology, sin, death, sexuality, and magic. We major fault lines in the domestic and foreign policies then follow the emergence of circles of mystics in of the United States. The rise of fearmongering 16th-century Safed (Land of Israel) that eventually discourse from self-proclaimed “experts” on radical sparked a mass messianic movement around the Islam after 9/11 is very much connected to the figure of Shabbetai Tzvi. In the second semester, we religious, political, and economic objectives of delve into the most popular and enduring Jewish different groups, which are important to investigate. mystical movement, Hasidism. Founded on the This course will look behind, but also beyond, the teachings of the Ba’al Shem Tov (The Besht) in 18th- hot-button issues that dominate current headlines, century Eastern Europe, Hasidism was forged into a exploring the variety of ways in which Muslim mass movement by charismatic miracle-workers Americans have flourished and called “tzaddikim” and spread by means of oral and 118 Russian written tales. We follow the emergence of Hasidic conclude our study with a lengthy look at what, for dynasties, gauge Hasidic responses to modern Western culture, is the seminal work of Augustine of phenomena like Zionism and the Holocaust, and Hippo. Permission of the instructor is required. follow the movement’s continued flourishing odat y in tight-knit communities from Brooklyn to Other courses of interest are listed below. Full Jerusalem. Finally, we will examine popular descriptions of the courses may be found under the contemporary neo-Kabbalah. Throughout, we strive appropriate disciplines. to appreciate different manifestations of Jewish mysticism within their changing historical contexts. First-Year Studies: Pilgrimage and Initiation (p. 10), Sandra Robinson Asian Studies Hindu Iconography and Ritual (p. 12), Sandra Readings in Christian Mysticism: Robinson Asian Studies Late Antiquity Images of India: Text/Photo/Film (p. 12), Sandra Cameron C. Afzal Robinson Asian Studies Intermediate/Advanced, Seminar—Year Spiritual Autobiography (p. 55), Philip Swoboda This course will focus on the intersection of Jewish History theology and Greco-Roman philosophy in the early First-Year Studies: From Homer to Plato (p. 93), Christian texts commonly seen to contain "mystical Abraham Anderson Philosophy elements." We will define these elements as et xts that have to do with the desire on the part of the reader to "know," experience, or "be with" God and with the author's attempt to properly demarcate the RUSSIAN boundaries within which these desires can be fulfilled. Christian ysticismm is perhaps best thought The goal of the Russian language classes at Sarah of as erotic theology—theology that involves the Lawrence College is to teach students to speak, desire for God. Recognizing this, we must also comprehend, read, and write a fascinating language acknowledge that inherent to this theology is a with a logic very different from that of English. Oral profound paradox. What is desired must be proficiency is the focus of the first-year class, conceived. It must be held in the grasp of one's culminating in end-of-semester projects where understanding in order to be attained. While this is students, in small groups, write and film skits. In the fine orf an orange, or even wealth and power, it is second-year course, reading is also emphasized. We much more problematic when the object of desire is include short stories and poetry, as well as texts God, the creator of the universe. Theologians in the paired with films. opics,T texts, and authors covered early church developed a language of desire and in the advanced class vary widely, and student input specific sets of practices involving one's lifestyle is strongly encouraged. Past syllabi have included and prayer in order to resolve this paradox and fulfill works by authors such as Pushkin, Gogol, Tolstoy, their desire. They began to ponder this paradox with Tsvetaeva, Bulgakov, and Pelevin, as well as films. a synthesis of a biblical theology of divine revelation Student work in class and conference is also (i.e., the revelation of God as preserved in the biblical supplemented by weekly meetings with the canon, symbolized in both the revelation of YHWH on language assistant and by a variety of Mt. Sinai and in the incarnation of the Divine Logos extracurricular activities, including a weekly Russian as Jesus of Nazareth) and Platonic expression of a Table, Russian opera at the Metropolitan Opera in desire for the ultimate good, truth, or beauty. In New York City, and excursions to Brighton Beach, order to better grasp these ideas, we will read parts Brooklyn’s “Little Odessa.” of the Hebrew Bible, the Gospels, and contemplate Students of Russian are strongly encouraged to the anthropology of desire set forth by Plato in the spend a semester or, ideally, a year abroad. Sarah Symposium and the Phaedrus. Educated in the Lawrence students regularly attend a variety of Hellenistic world, the early church fathers took programs, including: Middlebury College’s School in these ideas for granted and attempted to find Russia, with sites in Moscow, Irkutsk, and Yaroslavl; common ground with their Christian inheritance. We ’s program at the Smolny Institute in St. will study the phenomenon of Gnostic Christianity, Petersburg; the Moscow Art Theatre School Semester an early attempt at synthesis of biblical material and through College; ACTR in Moscow, St. Greek philosophy. We will then move on to encounter Petersburg, or Vladimir; and CIEE. the great early Christian writers—such as Origen and Athanasius of Alexandria, Gregory of Nyssa, Psuedo-Dionysius, and Ambrose of Milan—and THE CURRICULUM 119

The Russian program also offers courses taught required, along with weekly conversation classes in translation as part of the literature curriculum. with the Russian assistant. Attendance at Russian Recent literature courses include: The Literatures of Table is strongly encouraged. Conference work will Russian and African American Soul: Pushkin and focus on the written language. Students will be Blackness, Serfs and Slaves, Black Americans and asked to read short texts by the author(s) of their Red Russia; Dostoevsky and the West; The 19th- choice, with the aim of appreciating a very different Century Russian Novel; and Intertextuality in the culture and/or literature while learning to read 20th-Century Russian Novel. More generally, students independently, accurately, and with as little recourse of Russian also pursue their interest in Russia and to the dictionary as possible. Prerequisite: one year Eastern Europe in many other areas of the College. of college Russian or the equivalent. Conference work always may be directed toward the student’s field of interest. Courses focusing either Another course offered in a related discipline this entirely or in part on Russia and/or Eastern Europe year is listed below. A full description of the course are regularly offered in a number of disciplines, may be found under the appropriate discipline. including history, film history, dance history, and philosophy. The Russian Revolution (p. 54), Philip Swoboda History Beginning Russian Melissa Frazier Open, Seminar—Year SCIENCE AND MATHEMATICS At the end of this course, students will know the fundamentals of Russian grammar and will be able to use them to read, write, and, most especially, Science is a dynamic process by which we seek to speak Russian on an elementary level. Successful improve our understanding of ourselves and the language learning involves both creativity and a world around us. We use the language and methods certain amount of rote learning. Memorization gives of science and mathematics on a daily basis. Science the student the basis to then extrapolate, improvise, and mathematics nurture a special kind of creativity and have fun with the language. This course will lay by enhancing our abilities to ask concise, meaningful equal emphasis on both. Our four hours of class each questions and to design strategies to answer those week will be spent actively using what we know in questions. Such approaches teach us to think and pair and group activities, dialogues, discussions, etc. work in new ways and to uncover and evaluate facts Twice-weekly written homework, serving both to and place them in the context of modern society and reinforce old and to introduce new material, will be everyday life. The science and mathematics division required. At the end of each semester, we will offers classes in a variety of disciplines, including formalize—through small-group video projects—the biology, chemistry, computer science, mathematics, principle of rigorous but creative communication and physics. Studies in each of these disciplines are that underlies all of our work. Students are required offered at all levels, ranging from open courses to to attend weekly conversation classes with the advanced seminars and individual laboratory Russian assistant. Attendance at Russian Table is research projects. strongly encouraged. Qualified students have the option of enrolling in a Science Third program. In the Science Third, students simultaneously register for the seminar Intermediate Russian component of two science/mathematics courses, Natalia Dizenko which comprises one-third of their curriculum. Intermediate, Seminar—Year Because Science Third students will still be able to At the end of this course, students should feel that take two additional nonscience courses each they have a fairly sophisticated grasp of Russian and semester, this option is an opportunity for well- the ability to communicate in Russian in any prepared or advanced students to study multiple situation. After the first eary of studying the science courses without limiting their options in language, students will have learned the bulk of other disciplines. For more details and information, Russian grammar; this course will emphasize please contact the faculty group. grammar review, vocabulary accumulation, and regular oral practice. Class time will center on the spoken language, and students will be expected to participate actively in discussions based on new vocabulary. Regular written homework will be 120 Social Science Pre-Health Program In relation to the humanities, the social sciences offer empirical and theoretical Students interested in pursuing further studies in perspectives that complement those of history, medicine or other health-related fields may take philosophy, and religion. In relation to literature and advantage of the pre-health program, which the creative arts, social sciences provide a context prepares students academically for medical school for a fuller understanding of the works that we study and assists in meeting the demands of admission to and create. In relation to the natural sciences, social individual medical or graduate programs. Students sciences help us analyze the economic, social, and supplement required courses in biology, chemistry, political implications of modern technological and physics with additional courses offered by the advances and our complex interaction with the division as part of their preparation for the MCATs physical and biological environment. Finally, social- and . Conference work science disciplines give us access to the information provides students with additional opportunities to and analytical tools that we must have in order to organize original research projects, pursue evaluate and formulate alternative public policies independent learning, and critically examine and to actively contribute to intellectual and public professional literature—skills fundamental to future life. success in medical and graduate schools. Students For full course descriptions, see anthropology; in the program have significant contact with the pre- economics; environmental studies; politics; public health adviser, as well as with other faculty policy; science, technology, and society; and members in the division, through conferences, sociology. course work, and independent research. Therefore, faculty members with a thorough and personal knowledge of the individual student write letters of recommendation. The pre-health adviser and faculty SOCIOLOGY members also serve as resources for information regarding application procedures, research and Class, power, and inequality; law and society volunteer opportunities within the community, (including drugs, crime and “deviance”); race, structuring of class work, MCAT preparation, and ethnicity, and gender issues; and ways of practice interviews. seeing...these are among the topics addressed by See separate entries for specific oursec Sarah Lawrence College students and professors in descriptions in biology, chemistry, computer science, sociology courses. Increasingly, social issues need to mathematics, and physics. 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 experience and shape SOCIAL SCIENCE competing definitions of social situations, issues, and identities. The social science program is designed to enrich and Courses tend to emphasize the relationship systematize the understanding that we have of our between the qualitative and the quantitative, own experiences in relation to broader societal between theoretical and applied practice, and the forces. The social sciences begin from the premise complexities of social relations rather than relying that no matter how much we might wish to, we can on simplistic interpretations, while encouraging never detach ourselves entirely from the social student research in diverse areas. Through reading, institutions and processes that are the context for writing, and discussion, students are encouraged to our individual thoughts and actions. Thus, the develop a multidimensional and nuanced purpose of the social science curriculum is to understanding of social forces. Many students in contribute to our empowerment by helping us sociology have enriched their theoretical and understand the many ways in which people’s empirical work by linking it thematically with study lives—values, goals, relationships, and beliefs—are in other disciplines—and through fieldwork. affected by and have an impact on the social world. Most importantly, we can learn to contextualize our experiences in relation to those of others whose personal, social, and cultural circumstances differ from our own. An ability to think critically about our social environment can enhance our experience of whatever else we may choose to study or do. THE CURRICULUM 121 Borders and Transnational forms of data and methods: surveys, ethnographies, Mobilities demographics, historical, and digital. This course will likely appeal to students interested in learning, Parthiban Muniandy researching, and working with different migrant Open, Seminar—Year communities around the world. In a global context where immigration has become one of the biggest flashpoints in political discourse, our understanding of how human and nonhuman Cities of the Global South mobility takes place needs constant re-examination Parthiban Muniandy and refinement. In addition to major humanitarian Open, Seminar—Fall issues leading to global refugee crises, we are also Saskia Sassen conceptualizes the “global city” as a looking at an ever-growing number of people who model defined yb the concentration of the economic move across and within national borders in search of activities of globalization, from infrastructure to work, opportunities, education, and a chance to fulfil services, as well as new forms of corporate their aspirations for a better life. People also move governance and labor structures. The restructuring because of conflict, dispossession, coercion, and of global neoliberal economics has been a major environmental issues. Classical scholarship on factor in the unbalanced development experiences migration has focused predominantly on the two of various cities and urban centers in the Global largely distinct phenomena of “immigration” and South. While many enjoy vast material benefits rf om “emigration,” while more recent developments in rapid economic expansion in cities like Singapore transnational studies and the "mobility" turn have and Mumbai, others also experience an increase in led to a stronger emphasis on cross-border precarious conditions and unprecedented levels of movements and flows of people, goods, capital, inequality, as witnessed in cities like Jakarta, ideas, and vectors. Here, we will focus on building Johannesburg, and São Paulo. In this course, we will our knowledge about global and transnational be looking at the implications and consequences of mobility from an issue-based interdisciplinary uneven development in urban societies of the Global perspective, drawing from the fields of sociology, South. We will be particularly focused on issues such anthropology, economics, history, and global studies. as urban informality, poverty, violence, inequalities, These issues include refugee crises, human segregation, and surveillance as they pertain to trafficking, onomicec exploitation, modern-day cities outside the Global North countries. In addition, slavery and indentured servitude, the global care- the course will also be focused on changing notions chain, and the emergence of new groups of and meanings behind “urban” in the context of precarious people around the world. To help with our increasingly cosmopolitan societies and exploration of these issues, we will be looking at how globalization by looking at how migration and different regimes of mobility have developed under mobility have had an impact on the social, political, the auspices of globalization in the past three and economic dynamics of urban living. Some of the decades from a national, regional, international, and case studies that we examine include gated transnational perspective. What are some of the communities in Johannesburg, informality in Mumbai reasons influencing the movement of people away and Jakarta, and precariousness in Kuala Lumpur and from their homes and countries of origin? How does Hong Kong. Finally, we look at how urban the movement of people from privileged and transformations and realities in cities of the Global wealthier backgrounds differ from that of people South give rise the new forms of social movements from poorer, marginalized communities (particularly and political agency among dispossessed and in the Global South)? What are some of the marginalized communities that strive to make institutional frameworks and regimes that govern, demands and claims at both micro and macro regulate, and produce new classes of “migrants” in levels—from the collective mobilization of migrant today's world? The course will follow a modular women in Hong Kong in order to secure humane structure that focuses on various themes within working conditions to the major public protests and mobility studies. In each module, we will be using revolutionary movements in cities such as Cairo. We classical and contemporary readings that address will be reading and engaging with the works of the themes and issues at hand, in addition to scholars such as Sassen, , Asef Bayat, nontraditional sources such as videos, blogs, online Stephen Graham, Mike Davis, Teresa Caldeira, and forums, and websites. The second half of the course Ananya Roy, among others. Students will be given the will be focused on helping students design and opportunity to design case studies of different cities propose projects based around some of the issues in the non-Western world, focusing on key issues covered and through an engagement with different that we read and discuss in the course. 122 Sociology Both Public and Private: The Social study that emerged out of disability rights Construction of Family Life movements and has, therefore, focused on how social structures are disabling, limiting, and Shahnaz Rouse exclusionary. In concert with this perspective, we Open, Seminar—Fall will study the history of the disability rights Many of us take for granted the dichotomy between movement, including the passage and ramifications public and private life. The former is frequently of the Americans with Disabilities Act. We will also understood as abstract, distant, and a key site of consider tensions within disability movements, power; the latter, as the site of warmth, intimacy, including the difficulties inherent in mobilizing a and emotional sustenance. In this seminar, we will collective identity that encompasses a wide range of critically examine the assumptions underlying such conditions and circumstances. In addition to political idealized distinctions between public and private mobilization, we will analyze cultural meanings and domains. Through such revisioning, it is hoped that representations of physical, psychological, and we will better understand the public and private cognitive disabilities. Cultural representations of dimensions of the family, its complexity, and its disability shape our assumptions and expectations, historical variability. In particular, our analysis will while disability activists have used literature and art enable us to critically examine notions that posit the to contest stigma and create new kinds of inevitability of the nuclear, heterosexual family as a representations of non-normative bodies and selves. universal and “natural” institution. Relying primarily Finally, we will consider questions of embodiment, on the writings of Stephanie Coontz on the topic of self, and identity. Disability is typically defined in the family, supplemented by relevant additional terms of physical or mental impairment, which materials, we will take apart myths of the family to implies that there is a “normal” state of non- better understand both its discursive production and impairment. Defining disability has been highly material reality across time and space. Specifically, contested, both because of the stigma attached to we will look at the myriad ways in which personal those who are seen as different and because many and social reproduction occur; the relationship people with conditions that have been labeled as between distinct family forms and different systems disabilities do not see their conditions in negative of social organization and social movements; and the terms. Most of us will experience some degree of expression of gender, racial, and sexual relations in impairment at some point in our lives; but only some diverse historical settings. Throughout, we will be of us will be seen as, or identify ourselves as, attentive to shifting boundaries between the private disabled. Some disabilities are a part of identity from domain (often erroneously and transhistorically an early age, and others develop later in life. Thus, understood in familial terms) and public institutions we will consider the relationship between and practices—from which, again erroneously, the embodiment, ability, and selfhood, looking at how latter is often set apart. Furthermore, the “private” people negotiate identity in relation to social domain of the family will be problematized as a site categories and their own embodied experiences. for the construction of identity and caring and, simultaneously, as a location that engenders compulsion and violence. In this latter context, we Embodiment and Biological will examine how relations of domination and Knowledge: Public Engagement in subordination are produced through the institution Medicine and Science of the “family” and how resistance is generated to Sarah Wilcox such dominant relations and constructions. The Intermediate, Seminar—Fall course will conclude with an examination of family In this course, we will explore when, why, and how forms in contemporary societies—single parent-, biological ideas become salient to people’s identities same sex-, and fictive kin-based—and of public and to political debates, whether and how closely struggles over these various forms. popular conceptions of biology and the physical body match scientific and medical knowledge, and the Disabilities and Society variations in the extent to which biological Sarah Wilcox knowledge is seen as relevant to particular Open, Seminar—Fall conceptions of the self or social controversies over In this seminar, we will broadly consider the topic of the body. For example, why have vaccinations disability within contemporary society, examining become controversial, and what understandings of questions of social justice, discrimination, rights, the immune system underlie these controversies? identities, and cultural representations. Disability How does the subjective nature of pain figure into studies is an interdisciplinary field of academic controversies over contested illnesses such as THE CURRICULUM 123 fibromyalgia or repetitive strain syndrome? What do “problems”: refugees, undocumented persons, and “genes” or “genetics” mean in social or cultural so-called “economic” migrants. We start by looking terms? How do hormones figure into our cultural at how different groups of migrants become understanding of gender and into people’s own categorized through institutionalized regimes as gendered self-identities, particularly at times of “temporary” populations—guest workers, asylum hormonal change such as puberty, hysterectomy, or seekers, seasonal workers, and foreign taking hormones as part of aligning the physical workers—and examine what implications this body with gender identity? In sociology and temporariness imposes upon migrants themselves, anthropology, medical and scientific knowledge has both at the everyday level and in terms of the larger often been described as alienating, distancing political climate. We will explore the realities of people from their direct embodied experiences. Yet, today's migrant experience with a special focus on to be a body is also always to be in a social context; temporariness, globalized fragmentation of social so that perception is simultaneously cultural and reproduction, and regimes of managed migration physical. While medical and scientific knowledge around the world. Throughout the course, we will be provides us with ideas about our bodies that we reading the works of Faranak Miraftab, Aihwa Ong, cannot directly experience (e.g., our genes), these Nicole Constable, Guy Standing, Joseph Carens, David ideas can be deeply embedded and socially powerful Bacon, and others as resources to bolster our explanatory systems. Thus, scholars have also discussions and reflections on the eyk questions of argued that rather than alienating us from ourselves citizenship, rights, and temporariness. The course and our bodies, medical knowledge is constitutive of will require students to seek out and engage with bodies and selves. Biological ideas and terms also local community organizations that work with circulate freely, so that popular conceptions of different migrant communities and to develop biology or physiology and scientific knowledge may reflective projects (blogs, forums, wikis, or journals) not map neatly onto each other. We will explore focusing on these key questions. these themes of bodily association and dissociation, science as alienating or constitutive, and Propaganda: A History of Spin popularization and expertise through various domains of biological knowledge, embodiment, and Matthew Ellis, Shahnaz Rouse public debate. Past course work in the social Intermediate, Joint seminar—Spring sciences is beneficial but not equirr ed. This seminar provides an interdisciplinary analysis of the phenomenon of mass persuasion in modern society. How does propaganda “work”? How should Temporariness and Displacement: we characterize the individuals and institutions that Refugees, Migrants, and Aliens shape and disseminate it? What are the specific Parthiban Muniandy languages and visual symbols that propagandists Intermediate, Seminar—Spring have typically used to affect mass audiences? How What does it mean to be a “temporary” person? The have both “democratic” and “authoritarian” multiple discourses surrounding “migrants,” societies sought to generate consent; and how, in “refugees,” “illegals,” and other non-native-born turn, have individuals and social groups drawn the people often paint problematic, exaggerated, and line between what is truth and what is propaganda? frustratingly misunderstood portraits about entire Although the manipulation of information for communities and populations. Politicians and political ends has been intrinsic to human societies movements (often of the far-right disposition) across history, this course focuses on the so-called continue to reinforce views of the foreigner as a “axial age of propaganda,” beginning with World War national threat, one that will rip apart the fabric of I, which saw the emergence of tightly organized, society if left to their own devices. Yet, more than large-scale, government-sponsored propaganda ever, we live in a world where almost 245 million efforts across Europe and the United States. The people are living in a country other than where they course will place special emphasis on the interwar were born, and that includes millions of refugees period, when—amid the onset of totalitarian and displaced populations who struggle under regimes in Europe—the very nature of “public incredibly vulnerable and precarious conditions. opinion” and mass society were hotly debated by Some 740 million people migrate internally, primarily intellectuals and interpretive experts. This course from rural to urban centers, bringing the total will utilize a variety of case studies to explore the number of migrants to more than one billion people. symbolic content of specific kinds of propaganda Here, we focus on communities and groups of and the institutional milieux that produce it, paying migrants who are often targeted as national attention to propaganda that both seeks to 124 Sociology overthrow social structures as well as to maintain examine the production of nationalism(s) through them. Finally, the course will consider the ubiquity of the mass media, sports, film, museums and propaganda in contemporary society, focusing on the exhibitions, and tourism. Conference work may role of image-making professionals working in the include an examination of a specific nationalist spheres of political campaigning, advertising, and movement, theoretical issues pertaining to public relations. Specific asec studies may include: nationalism(s), memory, identity, performances of The US Committee on Public Information during nationalism(s) in popular culture and the mass World War I, the Nazi Ministry of Propaganda, media, and the interplay between institutional and Stalinism and the Soviet Union, state control of everyday constructions of nationalism in specific culture under the Deutsche Demoktratische Republik settings. Open only to juniors, seniors, and graduate (East Germany), McCarthyism and the Hollywood students. blacklist, ISIL, and Breitbart News and Trumpism. Other courses of interest are listed below. Full Gender and Nationalism(s) descriptions of the courses may be found under the appropriate disciplines. Shahnaz Rouse Advanced, Seminar—Year Introduction to Economic Theory and Policy (p. 28), Nationalism can be understood as a project Kim Christensen Economics simultaneously involving construction(s) of memory, First-Year Studies: Introduction to Development history, and identity. In this seminar, we will identify Studies: The Political Ecology of the multiple and shifting dimensions of nationalism Development (p. 47), Joshua Muldavin as a world historical phenomenon. Central to our Geography focus will be the centrality and particular The Geography of Contemporary China: A Political constructions of gender in different national Ecology of Reform, Global Integration, and Rise projects. Attention will be paid to nationalism in its to Superpower (p. 47), Joshua Muldavin colonial and contemporary trajectories. Questions to Geography be addressed include the following: What is the Diversity and Equity in Education: Issues of Gender, relationship between nationalism and identity? Race, and Class (p. 58), Nadeen M. Thomas Which symbols/languages are called upon to History produce a sense of self and collective identity? What Global Masculinities (p. 66), John (Song Pae) Cho are the various inclusions, exclusions, and Lesbian, Gay, Bisexual, and Transgender Studies that particular historically-constituted nationalisms Love, Sex, and Globalization (p. 65), John (Song Pae) involve? Is nationalism necessarily a positive force? Cho Lesbian, Gay, Bisexual, and Transgender If not, under what circumstances, in what ways, and Studies for whom does it pose problems? What is the Queer New Media (p. 67), John (Song Pae) Cho relationship of nationalism(s) to minorities and Lesbian, Gay, Bisexual, and Transgender Studies socially/politically marginalized groups? How is An Introduction to Statistical Methods and pluralism and difference constructed and treated? Analysis (p. 78), Daniel King Mathematics How do the same positions (e.g., issues of cultural The Legitimacy of Modernity (p. 98), David Peritz authenticity and identity) take on a different Politics meaning at diverse historical moments? How does Challenges to Development: Child and Adolescent the insider/outsider relationship alter in different Psychopathology (p. 112), Jan Drucker periods and conceptualizations? Women have been Psychology interpellated and have participated within Crossing Borders and Boundaries: The Social nationalist movements in a variety of ways. The Psychology of Immigration (p. 104), Gina dynamics and contradictions of such involvement Philogene Psychology will be analyzed closely. We will strive to explore the Individualism Reconsidered: Beyond Pride and implications of these processes for women's sense Shame (p. 111), Marvin Frankel Psychology of self, citizenship, and belonging at specific periods Constructing Citizenship, Dismantling Hierarchies: and over time. In the spring semester, we will turn The Immigrant and Racial Struggle for Political our attention more specifically to performances of Equality (p. 114), Luisa Laura Heredia Public nationalism through institutional and popular Policy cultural arrangements. Under the former category, The Art of Protest (p. 114), Luisa Laura Heredia Public we will look at issues of migration, immigration, and Policy exile; public policy and international relations; war and conflict. In the arena of popular culture, we will THE CURRICULUM 125

First-Year Studies: The Hebrew Bible (p. 115), foundations of communication and comprehension, Cameron C. Afzal Religion we will do a thorough review of basic grammatical, Color (p. 145), Gary Burnley Visual and Studio Arts lexical, and syntactical concepts at a more accelerated pace than the regular Beginning Spanish class. Working with music, visual art, film, and newspaper articles from Latin America and Spain, SPANISH students will develop the ability to navigate real-life situations and will expand their vocabulary through Sarah Lawrence College’s courses in Spanish cover group exercises with a communicative focus. Weekly grammar, literature, film, music, and conversation sessions are also a fundamental part of translation—all with the aim of making students this course. Course taught entirely in Spanish. more capable and confident in thinking, writing, and Students should take the placement test prior to expressing themselves in Spanish. Each of the registration. yearlong courses integrates activities such as panel discussions, lectures, and readings with classroom Intermediate Spanish I: Latin discussion and conference work to provide students with stimulating springboards for research and America, a Mosaic of Cultures study. Priscilla Chen Intermediate, Seminar—Year Beginning Spanish This course is intended for students who have had at least one year of college-level Spanish or equivalent Eduardo Lago and who wish to review and expand the Open, Seminar—Year fundamentals of the Spanish language while The aim of this course is to enable students without exploring the rich cultural mosaic of Latin America. previous knowledge of the language to develop the We will also pay special attention to oral skills necessary to achieve effective levels of communication and the expansion of new communication in Spanish. From the start, students vocabulary; and we will explore different writing will be in touch with authentic Spanish-language formats to create a dynamic dialogue between and materials in the form of newspaper articles, films, among grammar, literature, and culture in order to songs, and poems, as well as short literary and non- contextualize multiple meanings while increasing literary texts. In the regular class meetings, we will fluency in every aspect of language production. For actively implement a wide range of techniques conference, students will have a chance to explore aimed at creating an atmosphere of dynamic oral and develop topics related to Hispanic culture. To exchange. The acquisition of grammar structures enrich the student’s exposure to the mosaic of Latin will develop from the exploitation of everyday American cultures, we’ll try to take advantage of our situations through the incorporation of a wide set of local resources such as museums, libraries, and functional-contextual activities. Group conferences theatre. Students will meet with a language will help hone conversational skills and focus on assistant once a week in order to practice their individual needs. Both in class and in small group speaking and oral comprehension. The course will be conferences, we will explore the multiple resources taught entirely in Spanish. The Spanish Placement provided by the Internet, retrieving all sorts of test is recommended for all students, especially textual and visual tools that later will be collectively those who have not taken Spanish at SLC. exploited by the group. The viewing of films, documentaries, and episodes of popular TV series, as well as the reading of blogs and digital publications, Intermediate Spanish II: Culture in will take place outside the seminar meetings and the Information Age serve as the basis of class discussions and debates. Eduardo Lago Weekly conversation sessions with the language Intermediate, Seminar—Year assistant are an integral part of the course. Once students have reached the linguistic command required to work at an advanced-intermediate level, Advanced Beginning Spanish: Pop they are in an ideal position to begin to explore the Culture(s) numerous resources that can be found on the Internet. Instrumentally, we will focus on the Heather Cleary multiple uses of Spanish to be found in the virtual Open, Seminar—Year world, making use of its many possibilities such as In this class, for students who have had some blogs, newspapers, magazines, and other formats. experience with Spanish but are still laying the 126 Theatre We will identify the most relevant Web pages from in the fall, students will engage novels by the Spanish-speaking world, extract the adequate contemporary authors, including César Aira, information, and exploit it in class jointly, making Guadalupe Nettel, Alejandro Zambra, Roberto Bolaño, the necessary adjustments. Access to authentic and Samanta Schweblin, as well as a selection of sources from all over the Spanish-speaking world films rf om Latin America and Spain. In addition to will give us an excellent idea of the varieties of the classroom discussions, students will develop and language used in more than 20 countries. We will workshop critical and creative responses to these explore all forms of culture, paying special attention works for publication on a class . Course taught to audiovisual resources such as interviews, entirely in Spanish. Students should take the Spanish documentaries, TV programs, and other formats—all placement test prior to registration. of which will be incorporated into the course of study, complete or in fragments, depending on the Another course offered in a related discipline this level of difficulty. Art, film, music, photography, year is listed below. A full description of the course theatre, science, politics, comics, video games, may be found under the appropriate discipline. gastronomy—all forms and manifestations of culture, high and low—will be the object of our First-Year Studies: States of Emergence, Stages of attention, as long as the vehicle of expression is Emergency (p. 68), Isabel de Sena Literature Spanish. We will minimize the use of printed matter, which will be devoted mainly to a more classical exploration of grammar. The class as a whole, as well as students on an individual basis, will be THEATRE encouraged to locate different kinds of materials on the Internet. Weekly conversation sessions with the The Sarah Lawrence College theatre program language assistants, in small groups, are required. embraces the collaborative nature of theatre. Our This course is taught in Spanish. Please take the objective is to create theatre artists who are skilled Spanish placement test prior to interviewing with the in many disciplines: actors who write; directors who instructor. act; theatre makers who create their own projects; and sound, set, and lighting designers who are well- versed in new media and puppetry. Students have Advanced Spanish: Coming of Age I the advantage of choosing from a multidisciplinary Heather Cleary curriculum taught by working theatre professionals Advanced, Seminar—Fall that also draws on the resources of the College’s Growing up isn’t easy, but it does provide incredible theatre, music, and dance programs. At the heart of material for creative expression and social criticism. this curriculum are focused programs in acting, With an eye toward topics like sexuality, physical and directing, playwriting, and design, with symbolic violence, and political activism, students supplementary offerings in production and technical will engage film and literature from Latin America work. and Spain, both critically and creatively, as they hone Theatre students are encouraged to cross their communication, analytic, and essay-writing disciplines as they investigate all areas of theatre. skills. Advanced grammar review and writing The faculty is committed to active theatre workshops will complement our work with canonical training—students learn by doing—and have put texts by Jorge Luis Borges and Alejandra Pizarnik and together a vocabulary that stresses relationships films like Machuca, among many others. Students among classical, modern, and original texts. The will also meet with a language tutor, in small groups, program uses a variety of approaches to build every week. Course taught entirely in Spanish. technique while nurturing individual artistic Students should take the Spanish Placement Test directions. prior to interviewing for the course and registration. The theatre program examines not just contemporary American performance but also Advanced Spanish: Coming of Age diverse cultural and historical influences that II precede our own. Courses include Alexander Technique, acting, comedic and dramatic Heather Cleary improvisation, creation of original work, design, Advanced, Seminar—Spring directing, movement, musical theatre, playwriting, Growing up isn’t easy, but it does provide incredible puppetry, speech, solo performance, voice, and the material for creative expression and social criticism. art of bringing theatre into the local community. Building on the analytic and writing skills developed THE CURRICULUM 127 Curriculum First-Year Studies in Theatre: History and Histrionics: A History Students create an individualized Theatre Third with of Western Theatre the guidance of their don and the theatre faculty. Stuart Spencer Components are chosen to extend skills and Open, FYS—Year interests and to develop performing and practical This course explores 2,500 years of Western drama experience. There are open auditions for faculty-, and how dramaturgical ideas can be traced from student-, and guest-directed productions. There is a their origins in fifth-century Greece to 20th-century proposal system for student-directed, -written, and - Nigeria, with many stops in between. We will try to devised work within the seasonal production understand how a play is constructed, rather than schedule. simply written, and how how each succeeding epoch has both embraced and rejected what has come Practicum before it in order to create its own unique identity. We will study the major genres of Western drama, The theatre faculty is committed to the philosophy including the idea of a classically structured play, that students learn by doing. Classes provide a Elizabethan drama, neoclassicism, realism, rigorous intellectual and practical framework, and naturalism, expressionism, comedy, musical theatre, students are continually engaged in the process of theatre of cruelty, and existentialism. And we will making theatre. The program helps students build a look at the social, cultural, architectural, and solid technique based on established methodologies biographical context for the plays in question to while also being encouraged to discover and develop better understand how and why they were written as their individual artistic selves. Wide-ranging they were. Classroom discussion will focus on a new opportunities are available for students to learn by play each week, while conference work will be doing. Students may participate in internships or devoted mostly to the students writing about them. fieldwork in New York City theatres and theatre organizations. The College’s Theatre Outreach Performance/Acting program is a training program that uses music, writing, theatre techniques, and the visual arts to address social and community issues. The outreach Actor’s Workshop: Suit the Action course has been a vibrant component in the to the Word, the Word to the curriculum for more than two decades, encouraging Action—, III. ii. 17-18 the development of original material with a special Ernest H. Abuba emphasis on cross-cultural experiences. Open, Component—Year Many theatre components include an open- Students will work on voice work, script analysis, class showing or performance. In addition, multiple sensory exercises, a Shakespeare sonnet, cold performance and production opportunities in acting, readings, improvisation, auditioning, and extensive singing, dance, design, directing, ensemble creation, scene work from the following playwrights: Sara playwriting, and technical work are available to Ruhl, Theresa Rebeck, Susan Yankowitz, Maria Irene students throughout the academic year. The Fornes, Suzan-Lori Parks, Jean-Paul Sartre, Eugene College’s performance venues include productions Ionesco, Jean Anouilh, , and readings sponsored by the department in the Williams, Samuel Beckett, Oscar Wilde, Lynn Nottage, Suzanne Werner Wright Theatre, a modified thrust Katoria Hall, , and Edward Baker. stage, and the Frances Ann Cannon Workshop Required text: The Art of Acting, by Stella Adler. This Theatre, as well as student-produced work in the class meets twice a week. student-run blackbox DownStage Theatre. Workshops, readings, and productions are also mounted in the blackbox OpenSpace Theatre, Film Actor’s Workshop: Incognito: The Viewing Room, Outdoor Stage Theatre, and various Craft of Assumed Identity other performance spaces throughout the campus. Kevin Confoy Open, Component—Year An approach to performance that focuses on external applications as a method of building a character—working with costumes, props, make-up, and tangible aspects of production, as well as voice, dialects, gesture, and given behavior—students will 128 Theatre develop an “outside-in” technique that allows for the modalities. The objectives of this class are to learn full physical and emotional expression of a character to identify, personalize, and embody the structural and the text. This class meets twice a week. elements of Shakespeare’s language as the primary means of bringing his characters to life. Students Actor’s Workshop: Acting will study a representative arc of Shakespeare’s plays, as well as the sonnets, with the goal of Techniques bringing his characters to life. Class time will be Erica Newhouse divided among physical, vocal, and text work. This Open, Component—Year class meets twice a week. This is an acting techniques class: foundational, process-based work to empower the actor in any theatrical environment. The first semester focuses Breaking the Code on the voice and body and the development of a Kevin Confoy “toolbox” of acting techniques. The second semester Intermediate, Component—Year focuses on applying those tools to language and text, A specific et xt-driven approach to acting, Breaking while integrating the voice and body work through the Code provides a context for the most vital scene work. The goal is for students to leave the performances based upon a way of dissecting a play class with all of the basic tools that they need to act; and determining a character’s behavior. Students to have a growing awareness of their body, voice, will act scenes from contemporary plays and and physical habits in order that they may adaptations. Open to both actors and directors. This consciously use them in the development of class meets twice a week. character; and to begin to develop their own process of working, start to finish, with an arsenal of oolst Close Up and Personal and techniques to use when needed. We explore the Faculty TBA Alexander Technique, character work, sense memory Advanced, Component—Year work, viewpoints, animal work, voice and speech Great camera work demands intimacy, emotional work, script analysis, text analysis, Lecoq exercises, adaptability, risk, and connection. Students will learn and much more. This class meets twice a week. how to maintain an organic experience in spite of the rigid technical restrictions and requirements. Acting During the fall semester, we will work on cold- Michael Early reading techniques, emotional expansion exercises, Intermediate, Component—Year and scenes from published works. In the second The plays of , Tennessee Williams, and semester, we will put original monologues and serve as the point of departure in our scenes on camera. We will use a monitor playback exploration of the craft of acting. In this class, system for reviewing work to help identify specific students will be challenged to expand their range of problems. Class size is limited. This class meets twice expression and build their confidence to make bold a week. and imaginative acting choices. Particular attention will be paid to learning to analyze the text in ways that lead to defining clear, specific, and playable Christine Farrell actions and objectives. In tandem with their work on Open, Component—Year a given text, students will be guided through a We will explore techniques for spontaneous behavior, progression of physical, vocal, sensory, and immediate creation, and developing your creativity imaginative exercises designed to impart tangible and truth on stage as an actor. There will be skills that will enable them to create improvisational exercises that build community and multidimensional characters. This class meets twice investigate themes for directors and teachers and a week. improvisational methods to deepen the live communication skills of each artist. We will study Acting Shakespeare the works of Viola Spooling, Keith Johnstone, and Michael Early August Boal. This class will meet once a week. Advanced, Component—Year Those actors rooted in the tradition of playing Shakespeare find themselves equipped with a skill set that enables them to successfully work on a wide range of texts and within an array of performance THE CURRICULUM 129 Comedy Workshop Singing Workshop Christine Farrell William D. McRee, Thomas Mandel Intermediate, Component—Year Open, Component—Year An exploration of the classic structures of comedy We will explore the actor’s performance with songs and the unique comic mind, this course begins with and various styles of , music for a strong focus on improvisation and ensemble work. theatre, cabaret, and original work, emphasizing The athletics of the creative comedic mind is the communication with the audience and material primary objective of the first-semester exercises. selection. Dynamics of vocal interpretation and style Status play, narrative storytelling, and the Harold will also be examined. This class meets twice a week. exercise are used to develop the artist’s freedom and Audition required. confidence. The ensemble learns to trust the spontaneous response and their own comic SLC Lampoon madness. Second semester educates the theatre artist in the theories of comedy. It is designed to Keisha Zollar introduce students to commedia dell’arte, vaudeville, Advanced, Component—Year parody, satire, and standup comedy. At the end of the SLC Lampoon is a comedy ensemble of actors, final semester, each student will write five minutes directors, and writers. The techniques of Second City of standup material that will be performed one night and TheatreSports will be used to create an at a comedy club in New York City and then on the improvisational troupe that will perform throughout College campus on Comedy Night. This class meets the campus. The ensemble will craft comic twice a week. characters and write sketches, parodies, and political satire. This work will culminate in a final SLC Lampoon Mainstage performance in the style of Contemporary Scene Study Second City or Saturday Night Live. This class meets Erica Newhouse once a week a week for three hours. Audition Advanced, Component—Year required. This class will take a rigorous approach to the preparation and process of performance. Building on Directing, Devising, Performance, your “toolbox,” you will go deeper into text, character exploration, and action—expanding self-awareness Movement & Voice and revealing and risking more. The first hour of class will focus on movement and making ephemeral Spring Musical works as a way to tune your instrument. The Kevin Confoy following two hours will be devoted to scene study, Open, Component—Year using contemporary and modern texts. This class will Students in this class will become the company of meet once a week for three hours. the Theatre Program’s Main Stage Spring Musical. Classes will provide for an in-depth rehearsal Creating a Role process and allow for an extended study of the show in its greater context. Students will work together on Ernest H. Abuba the songs, scenes, dance and movement, and book of Open, Component—Year this musical in a traditional manner, with class time It is a sanctum of discovery, enabling the actor to dedicated to rehearsals with the director, musical explore non-Western movement: centering energy, director, and creative team of the production. In concentration, the voice, and the“mythos” of a addition, students will have a distinct opportunity to character to discover one’s own truth in relation to study and participate in the show at a level of far the text, both contemporary and the classics. greater discovery and intensive preparation than a Traditional as well as alternative approaches to standard rehearsal period allows. First semester acting techniques are applied. Fall semester work will include meetings with the show’s concentrates on roles: Hamlet, Leontes, Caliban, designers, extended work on the text and characters, Othello, Lear, Macbeth, Richard III, Hecuba, Medea, and in-class rehearsals. All aspects of the show—its Antigone, Lady Anne,Tamara, Portia, and Lady relevance and significance in a historical context, its Macbeth; spring semester, applied to scene study production history and place in the canon of from works by Chekhov, Ibsen, Arrabal, Beckett, musicals, as well as a study of its composer and Ionesco, Sarah Kane, Amira Baraka, Edward Albee, creators of similar works of its kind—will be and Jean Genet. Required reading: The Art of Acting, discussed and become part of regular class work. by Stella Adler. This class meets twice a week. 130 Theatre Also in the first semester, students will be expected Alexander Technique to meet out of class for rehearsals on designated June Ekman scenes, songs, etc., as they would in a traditional Open, Component—Year scene study class. Students will be assigned to The Alexander Technique is a neuromuscular system research and report back to the cast certain aspects that enables the student to identify and change poor of the show and its history. Second semester work and inefficient habits that yma be causing stress will move to a concentration on production and will and fatigue. With gentle, hands-on guidance and include a regular period of out-of-class nightly verbal instruction, the student learns to replace rehearsals on a pre-determined schedule. Students faulty habits with improved coordination by locating interested in directing plays and musicals will be and releasing undue muscular tensions. This given specific aspects/scenes/songs of the show to includes easing of the breath and the effect of be rehearsed and worked on under the guidance of coordinated breathing on the voice. It is an the teachers. Student directors in the class will invaluable technique that connects the actor to his become part of the discussion of the design and or her resources for dramatic intent. This class production elements of the show. Students in this meets once a week. Audition required. Four sections class are free to participate in shows outside of of this class. class in the first semester. In the second semester, students may not participate in any production that has rehearsals or performances that conflict with Breathing Coordination for the the schedule of this production. All principal and Performer featured roles in the show will be cast from within Sterling Swann this class. Required audition and interview held Open, Component—Year during registration week. Students improve their vocal power and ease through an understanding of basic breathing Directing Workshop mechanics and anatomy. Utilizing recent discoveries William D. McRee of breathing coordination, performers can achieve Open, Component—Year their true potential by freeing their voices, reducing Directors will study the processes necessary to bring tension, and increasing vocal stamina. In the second a written text to life, along with the methods and semester, principals of the Alexander Technique are goals used in working with actors to focus and introduced; students consolidate their progress by strengthen their performances. Scene work and performing songs and monologues in a supportive short plays will be performed in class, and the atmosphere. student’s work will be analyzed and evaluated. This class meets once a week. Two sections of this Common directing problems will be addressed, and class. the directors will become familiar with the conceptual process that allows them to think Building a Vocal Technique creatively. The workshop is open to beginning Sterling Swann directors and any interested student. This class Intermediate, Component—Year meets twice a week. A continuation of Breathing Coordination for the Performer, which is suggested as a prerequisite, Directing the 20th Century: From students deepen their understanding of breathing Chekhov to Churchill coordination and Alexander Technique and work on songs and monologues of their choice. The emphasis Will Frears is on maintaining physical ease in performance to Intermediate, Component—Year increase vocal range and power. This class meets This class will focus on directing plays in the 20th- once a week. century canon, covering a range of styles and content. It will cover the whole journey of directing a play, with a strong emphasis on practical work. Introduction to Stage Combat Students will be required to bring in design research Sterling Swann for plays and to direct scenes from the plays, both of Open, Seminar—Year which they will present to the class for critique. The Students learn the basics of armed and unarmed class will focus on how to use the text to inform the stage fighting, with an emphasis on safety. Actors choices made by the director. are taught to create effective stage violence, from hair pulling and choking to sword fighting, with a THE CURRICULUM 131 minimum of risk. Basic techniques are incorporated politicians, as well as blues, gospel, and old-school into short scenes to give students experience rock-and-roll artists. Commitment to risk-as-truth, performing fights in both classic and modern with an eye toward creating pieces and contexts. Each semester culminates in a skills performances that conjure transcendence, is a proficiency test aimed at certification in one of eight founding principle of the lab. Students will work in weapon forms. This class meets once a week. ever-shifting teams to create and perform short pieces; e.g., scenes, sermons, songs, or situations Advanced Stage Combat that include set and costume designs, choreography, and video. The lab will also feature an ongoing Sterling Swann “compare and contrast” investigation of rock music Intermediate, Component—Year and show tunes, with an emphasis on what we have This course is a continuation of Introduction to Stage to learn from those differences about effectively Combat and offers additional training in more acting and singing. This class meets once a week for complex weapon forms, such as rapier and dagger, four hours. single sword, and small sword. Students receive training as fight aptc ains and have the opportunity to take additional skills proficiency tests that lead to Voice and Speech I: Vocal Practice actor/combatant status in the Society of American Francine Zerfas Fight Directors. This class meets once a week. Component—Year This course will focus on awakening the young artist Movement for Performance to the expressive range of the human voice, as well as to the intricacies of developing greater clarity of David Neumann speech and playing with sound. A thorough warmup Open, Component—Year will be developed to bring power, flexibility, and This class will explore the full instrument of the range to the actor’s voice and speech. Exercises and performer, namely the human body. A daily warmup text work will be explored, with the goal of uniting will open the body to larger movement ranges while body, breath, voice, and speech into an expressive introducing students to a better functioning whole when acting. alignment, efficient muscle and energy use, full This class meets once a week for two hours. breathing, clear weight transfer, and increased awareness while traveling through space. A combination of improvisation, contact improvisation, Design and Media set phrases, and in-class assignments creating short movement-based pieces will be used to explore a Costume Design I larger range of articulation that the body reveals David Moyer regardless of the words spoken on stage. In all Open, Component—Year aspects, the goals of this class are to enable In this course, students will be introduced to the students to be courageous with their physical selves, various strategies and techniques integral to the more articulate with their bodies, and more many facets of costume design. Through historical personally expressive in performance. No movement research projects, we will investigate the evolution background is required, just a healthy mix of of costume/fashion history and the vital importance curiosity and courage. In addition to occasional of the research process itself. Through theoretical reading handouts, there will be opportunities to design projects, we will explore how to develop a attend rehearsals and performances of professional design concept and how to articulate that concept theatre and dance in New York City. Please wear through various modes of visual communication. We loose, comfortable clothing to class. This class meets will explore costume renderings through basic life twice a week. drawing exercises and painting skills and examine the use of preliminary and final sketches as Music as Theatre Lab blueprints for realized costumes. Students will also Stew Stewart begin to understand aspects of costume Open, Component—Year construction through exercises in both hand and This lab is open to any artists committed to exploring machine sewing and basic pattern making, as well a variety of music-driven, song-centric, spirit- as to develop a vocabulary for the tools and derived approaches to music-theatre creation. Music techniques of construction. No previous experience as Theater Lab invites students into an investigation with any of the aforementioned topics or techniques of the work of prophets, faith healers, and wild 132 Theatre is necessary for taking this course. Actors, directors, productions and in-class projects for evaluation and designers, and theatre makers of all kinds are discussion and will be offered the opportunity to welcome. This class meets once a week. increase their experience in design by assisting Mr. MacPherson and others, when possible. This class Costume Design II meets once a week. David Moyer Intermediate, Component—Year Scenic Design I As an extension of Costume Design I, this course will Faculty TBA delve in greater depth into the various strategies, Open, Component—Year techniques, and methodologies of costume design. This course introduces basic elements of scenic We will cover and review a range of topics that will design, including developing a design concept, advance and hone existing skill sets in both design drafting, and practical techniques for creating and construction. Emphasis will be placed on theatrical space. Students will develop tools to encouraging students to develop a critical eye in communicate their visual ideas through research, regard to their own design process. In addition, sketches, and models. The class will discuss projects in this class will explore the intersections of examples of design from theatre, dance, and bodily adornment/augmentation and identity, as puppetry. Student projects will include both well as the use of clothing/fashion/costume to conceptual designs and production work in the evoke social change/justice. We will also discuss department. This class meets once a week. There is a costume design within the context of the $50 course fee. professional world and explore the practical skill sets relevant to the industry. Most students will have Sound Design I: Intro to Sound an opportunity to design a department production. Prerequisite: Costume I or permission of the Design instructor. This class meets once a week. Tei Blow Open, Component—Year This course will cover the basic tools and processes Lighting Design I of theatrical sound design from script analysis and Greg MacPherson collaboration with directors and the rest of the Open, Component—Year design team to the execution of a full sound design This class will introduce the student to the basic for performance. The course will explain how to elements of stage lighting, including tools and source, record, and edit sound and give a basic equipment, color theory, reading scripts for design overview of the software and hardware used in elements, operation of lighting consoles and professional sound design. Throughout the course, construction of lighting cues, and basic elements of we will create sound effects, transitions, and sound lighting drawings and schedules. Students will be collages and cover the many ways that sound is used offered hands-on experience in hanging and in the theatre. Skills learned in this class will prepare focusing lighting instruments and will be invited to students to design sound in many different venues attend technical rehearsals. Students will also have and on different types of systems. The class will opportunities to design productions and assist other focus on the creative side of sound design while designers as a way of developing a greater covering the basics of system design, sound understanding of the design process. This class equipment, and software. meets once a week. Puppet Theatre Lighting Design II Lake Simons Greg MacPherson Open, Component—Year Intermediate, Component—Year This course will explore a variety of puppetry This class will build upon the basics introduced in techniques, including bunraku-style, marionette, Lighting Design I to help develop the students’ shadow puppetry, and toy theatre. We will begin with abilities in designing complex productions. The a detailed look at these forms through individual and course will focus primarily on CAD and other group research projects. We will further our computer programs related to lighting design, script exploration with hands-on learning in various analysis, advanced console operation, and techniques of construction. Students will then have communication with directors and other designers. the opportunity to develop their own manipulation Students will be expected to design actual skills, as well as to gain an understanding of how to THE CURRICULUM 133 prepare the puppeteer’s body for performance. The of video projection and sound technology and being class will culminate with the creation and comfortable with programming is highly presentation of puppetry pieces of students' own recommended. This class meets once a week. making. This class meets once a week for two hours. Projection Design for Theatre Directing, Devising, and Faculty TBA Performance/Something From Open, Component—Year Something Else: Mass Media, Live This course allows students to explore design Bodies, and Contemporary possibilities in projection, animation, scenic design, and puppetry through a series of exploratory Performance Strategy projects and group work. We will create visual Tei Blow, David Neumann sequences using the overhead projector, stop-motion Intermediate, Component—Year animation techniques, shadow puppetry, and video This course will explore the interaction between animation. The course will introduce basic digital media and “liveness” in the process of making manipulation in Photoshop, simple video animation original, collaborative performance work. By in After Effects, and the live manipulation of video combining embodied processes with the creative using Isadora media interface software. Individual reuse of mass media, this course is designed to projects in the second semester will challenge introduce students to an experimental performance students to integrate these techniques into strategy that incorporates design elements performance. Basic knowledge of Photoshop and the throughout the playwriting and production process. Macintosh operating system is highly recommended. By stripping found media materials from their This class meets once a week. original context and arranging them in new ways, participants will explore the methods and politics of appropriation in performance work. By then CultureHub Live Media Workshop extending these techniques into embodied practices, Faculty TBA students will experiment with various methods of Open, Component—Year extracting movement, text, and intention from these This course will explore live-feed projection design source materials. Class workshops focusing on text, and technology with theatre students at Sarah sound, and video manipulation in a collaborative Lawrence College and design and video students at format will alternate with experiments in the Seoul Institute of the Arts in Ansan, South Korea. performance composition and lectures on the The course will focus on creating puppetry and historical use of appropriation in a variety of art miniature environments for theatrical performance forms. Participants should have an interest in both in the two separate locations, Seoul and New York, performance and performance technology, though by utilizing the telepresence studios at SeoulArts and experience in either is not a prerequisite. The course CultureHub. Students in both locations will be culminates in a rehearsal period and performance. introduced to basic puppetry manipulation and This course meets once a week, culminating in construction techniques, as well as to methods for additional rehearsals within a typical production designing and building miniature sets and schedule. environments. In addition, live video feeds, chroma keying, and depth-sensing cameras will be implemented to enhance the media and LIVE MEDIA: Creating Hybrid performance landscape. Through the process, Performance With Technology students will be exposed to a variety of multimedia Faculty TBA theatre and puppetry forms and will gain an Open, Component—Year understanding of critical design considerations, This course experiments with blending different including lighting, manipulation, chroma key, and technological elements—cameras (both acting in live video techniques. The goal of the course will be front of and operation), video, sound, cell phones, to create collaborative performances that are a the Internet, games, sensors, etc. The goal is to combination of manipulated figures and sets in create hybrid performances that transcend locations separate physical locations. The course will be team- and redefine live performance’s relationship with taught by: Professor Seung-Ho Jeong, scenic and audiences. Elements of immersive and interactive lighting designer at Seoul Institute for the Arts and performance will also be explored. Basic knowledge one of Korea’s most high-profile, in-demand set designers; Tom Lee, puppet artist, theatre designer, and guest faculty member at Sarah Lawrence 134 Theatre College; and Billy Clark, director of CultureHub New encouragement as we attempt our own York City and member faculty of the Seoul Arts “experiments.” We will also style experimental texts Institute. This class meets once a week. to ascertain the types of environments—political, spiritual, mental, social—that influenced such texts Playwriting to be generated; that is, created. Our aim, first and foremost, is to investigate and explore ways to genuinely investigate and give theatrical expression Creative Impulse: The Process of to our own personal, political, and spiritual interior Writing for the Stage lives, values, observations, and beliefs. We will then Sibyl Kempson strive to examine the most effective manner of Advanced, Component—Year communicating our theatrical experiments to an In this course, the vectors of pure creative impulse audience. Our experimental writing may include hold sway over the process of writing for the multimedia presentations as part of the scripted stage—and we write ourselves into unknown onstage play or performance. This class meets once a territory. Students are encouraged to set aside week for four hours (with a lunch break). received and preconceived notions of what it means to write plays or to be a writer—along with ideas of Writer’s Gym what a play is “supposed to” or “should” look Cassandra Medley like—in order to locate their own authentic ways of Open, Component—Year seeing and making; in other words, disarming the You can’t wait for inspiration; you have to go after it rational, the judgmental thinking that is rooted in a with a club. —Jack London concept of a final product, and empowering the chaotic, spatial, associative processes that put us in Writer’s Gym is a yearlong writing workshop immediate formal contact with our direct designed for writers of any genre and any level of experience, impressions, and perceptions of reality. experience, from beginner to advanced. Our focus is Emphasis on detail, texture, and contiguity will be on writing exercises that develop characters and favored over the more widely accepted, reliable, yet stories—whether for the stage, screen, or prose sometimes limiting Aristotelian virtues of structure narration. In addition, we study theories about the and continuity in the making of meaningful live nature of creativity. Our goals are as follows: to study performance. Readings will be tailored to fit the writing methods that help to inspire, nurture, thinking of the class. We will likely look at encourage, and sustain our urge/need to write; to theoretical and creative writings of Gertrude Stein, learn how to transform personal experiences and George Steiner, Mac Wellman, Maria Irene Fornes, observations into imaginative dramatic and/or prose , Mircea Eliade, Kristen Kosmas, fiction or poetic metaphor and imagery; to RichardMaxwell, and Roland Barthes, as well as work concentrate on building the inner lives of our that crosses into visual art realms and radical characters through in-depth character work in order scientific thought rf om physicists David Bohm and F. to create stronger stories; to explore—that is to say, David Peat. The course will be conducted in investigate—and gain access into our spontaneous workshop fashion, with strong emphasis on the ideas; to articulate and gain a more conscious tracking and documenting of process. This class relationship to the “inner territory” from which we meets once a week. Two sections of this class. draw ideas; to confront issues that block the writing process; and to gain greater confidence in relation to Experiments in Language and revision as we pursue clarification of the work. This Form class meets once a week. Cassandra Medley Advanced, Component—Year Medley Workshop: Developing the In this class, we focus on writing “experimental Dramatic Idea theatre”; that is, we experiment with theatrical Cassandra Medley forms that extend beyond traditional portrayals of Intermediate, Component—Year time, three-dimensional space, language, character, The purpose of this workshop is to develop and and dramatic structure to discover the impact that complete a draft of a final project play of any length. different types of onstage presentations might have Our focus is on originating character-driven stories on audiences. We are not interested in imitating the that involve multiple events and/or multiple turning style of “experimental” playwrights but, rather, points and revelations, concluding with a major using their texts as influence, stimulus, and crisis and/or consequence for the characters. From THE CURRICULUM 135 the very beginning of the semester, writers create class each week. The course requires that students several short drafts of “mini-plays” as we practice enter, at minimum, with an idea of the play on which the components that lead to effective playwriting. they plan to work; ideally, they will bring in a partial Writers allow various characters, topics, and draft or even a completed draft that they wish to concerns to be revealed to them as their in-process revise. We will read some existent texts, time project(s)take shape. We will also study a selection allowing. This class meets twice a week. of full-length plays and/or screenplays for inspiration, guidance, and analysis of various Theatre Outreach, Theatre History, contemporary styles of drama. Styles may be varied; but as dramatists, we are all challenged by a form of and Production storytelling that requires us to try and hold the attention of an audience for a condensed length of Theatre Outreach: Collaboration “real” time in a public space. This class meets once a and Community week. Allen Lang Open, Component—Year Playwriting Techniques Developing original, issue-oriented, dramatic Stuart Spencer material using music and theatre media, this course Open, Component—Year will present the structures needed for community In this course, you will investigate the mystery of extension of the theatre. Performance and teaching how to release your creative process and, at the groups will work with small theatres, schools, same time, discover the fundamentals of dramatic senior-citizen groups, museums, centers, and structure that will help you tell the story of your play. shelters. Productions and class plans will be made in In the first erm,t you will write a short scene, every consultation with the organizations and with our week, taken from The Playwright’s Guidebook, which touring groups. We will work with children’s theatre, we will use as a basic text. At the end of the first audience participation, and educational theatre. term, you will write a short but complete play based Teaching and performance techniques will focus on on one of these short assignments. In the second past and present uses of oral histories and cross- term, you’ll go on to adapt a short story of your cultural material. We will study sociological and choice and then write a play based on a historical psychological dynamics as part of an exploration of character, event, or period. The focus in all instances the role of theatre and its connections to learning. is on the writer’s deepest connection to the Each student will have a service-learning team material—where the drama lies. Work will be read placement. Special projects and guest topics will aloud in class and discussed in class each week. include the use of theatre in developing new kinds of Students will also read and discuss plays that mirror afterschool programs, styles and forms of the challenges presented by their own assignments. community on-site performances, and media This course meets once a week. Two sections of this techniques for artists who teach, as well as working course. with the Sarah Lawrence College Human Genetics Program. This class meets once a week. Playwright’s Workshop Stuart Spencer Theatre Outreach Projects: Advanced, Component—Year Connections to Community Who are you as a writer? What do you write about, Allen Lang and why? Are you writing the play that you want to Advanced, Component—Year write? Or that you need to write? Where is the nexus This advanced course will provide a strong between the amorphous, subconscious wellspring of foundation from which to explore and extend the material and the rigorous demands of a form teaching and theatre-making skills in the that will play in real time before a live audience? community. With an interest in exploring personally This course is designed for playwriting students who expressive material and in extending and developing have a solid knowledge of dramatic structure and an skills, students will find a practical approach to understanding of their own creative process—and experiential learning that grows teaching skills who are ready to create a complete dramatic work of through a weekly community placement. Placements any length. (As the late Edward Albee pointed out, are usually yearlong and typically culminate in a “All plays are full-length plays.”) Students will be process-over-product, informal presentation that is free to work on themes, subjects, and styles of their reflective of the interests, stories, and experiences choice. Work will be read aloud and discussed in of the individual participants. Students will explore 136 Theatre collaborating with partnerships at schools, libraries, of plays, with an emphasis on looking at the world in museums, community centers, prisons, and which those plays were written and why they downtown Yonkers storefronts and other venues to continue to resonate today. Students will study develop original work that will result in a creative documentaries and make presentations on events of forum, with performances concluding in a talkback historical/political/cultural significance as a way of environ. Historical and contemporary social-political providing a play with a rich context for production and artistic issues are applied to community work. and performance. We will concentrate on American Class readings and discussions will explore plays and political movements but will encompass a theoretical and practical discussions about theatre global and cultural perspective with discussion making and sharing theatre skills in the 21st century ranging from the influential orksw and innovations that will examine the role of creative artists working of Brecht and Beckett to political theatre groups like in the community to bring forth social change. El Teatro Campesino of the 1960s, to agitprop theatre Exploring gender, and open to all races and events like those of the Vietnam War and Civil Rights ethnicities, students will work toward the eras, and to those of ACT UP in the 1980s AIDS Crisis. development of a creative ensemble of SLC theatre Students in Crisis Mode will devise projects to serve artists. Class readings and discussions will explore their particular theatre interests. Projects range LGBTQ, African American, Latino/Hispanic, Asian/ from staging and acting scenes to design work, Asian American artistic contributions, and that will dramaturgical presentations, and original plays provide a strong foundation from which to create written in the style/spirit of the events studied. This new work. Focusing on local, national, and world class meets twice a week. issues as they pertain to our own experiences, first- semester work will culminate in informal workshop Dramaturgy presentations and discussion sessions at a Yonkers High School. Second-semester class work will Stuart Spencer culminate in a touring show for the HS Lunchbox Advanced, Component—Year Group and intergenerational work with the 50+ Dramaturgy is the study of dramatic structure: how Lunchbox Group. First-semester coursework will plays are built and how they work. Although any play include a Yonkers tour that visits the Yonkers worth its salt works according to its own Downtown Waterfront, as well as important Yonkers idiosyncratic plan, certain principles allow us to take cultural attractions. The class is open to all students it apart in order to better understand how it is built. who want to explore personal material through a There are many ways to do that, and we will be sociopolitical lens. Open to dancers, poets, trying a wide assortment. For example, we will study playwrights, actors, and visual artists. Educator John classical structure as it shapes not only Sophocles’ Paul Lederach asks the artist to connect with the Oedipus the King but also Euripides’ The Bacchae and “moral imagination”—the ability to “stay grounded Maureen Duffy’s Rites. In order to understand “the in the here and now, with all its violence and well-made play,” we’ll read Émile Augier’s simple- injustice, while still imagining and working toward a minded Olympe’s Marriage side-by-side with Henrik more life-affirmingorld. w ” This class meets once a Ibsen’s profound A Doll's House. We’ll look at: the week. development of expressionism over the course of the 20th century from Adrienne Kennedy’s vertiginous nightmare, Funnyhouse of a Negro, to Ted Tally’s Crisis Mode: Theatre From the Late poetic tragedy, Terra Nova; the development of the 1960s Through Today Theatre of Cruelty from Jet of Blood, to Harold Kevin Confoy Pinter’s ; and the role of ambiguity Open, Component—Year in Shakespeare by delving deeply into King Lear and Crisis Mode examines how theatre has responded to Hamlet. The examination of multiple drafts of plays certain events of historical significance and is often the surest way to see inside the playwright’s moments of crisis. It is of particular value to those mind. We’re lucky to have complete, early drafts of directors, actors, and theatre makers/producers plays that, after substantial revision, became interested in an expansive view of theatre and in masterpieces. We will look at Chekhov’s early how and why a play can change the way we think. manuscript of The Wood Demon, the play that later The course provides a working foundation for evolved into ; and we’ll watch Ibsen performance and production. We will examine plays struggle to find the way to release Nora’s persona in and playwrights and theatre movements and styles the first draft of A Doll's House and succeed that have developed and come to expression in the incomparably in the final ersion.v Other kinds of past several decades. Students will discuss a variety revisions will also be examined, such as Brandon THE CURRICULUM 137 Jacob Jenkins’ brilliant postmodern reworking of the Far-Off, Off-Off, Off, and On 19th-century melodrama, The Octoroon, which he : Experiencing the subtly retitles An Octoroon. There are many other possibilities, as well, such as ritualistic drama in S. A. 2017–2018 Theatre Season Ansky’s great horror-, The Dybbuk; Jean William D. McRee Genet’s The Maids; and Edward Albee’s Who’s Afraid Open, Component—Year of Virginia Woolf? Because an understanding of Weekly class meetings in which productions are genre is essential to the work that we will do, a analyzed and discussed will be supplemented by working knowledge of the principle genres regular visits to many of the theatrical productions (classicism, Elizabethan, neoclassicism, realism, of the current season. The class will travel within naturalism, expressionism, etc.) and their historical the tristate area, attending theatre in as many context is required for the course. This course meets diverse venues, forms, and styles as possible. once a week. Published plays will be studied in advance of attending performances; new or unscripted works will be preceded by examinations of previous work Global Theatre: The Syncretic by the author or company. Students will be given Journey access to all available group discounts in purchasing Ernest H. Abuba, Mia Yoo, David Diamond tickets. This class meets once a week. Open, Seminar Good evening, ladies and gentlemen, and welcome to DownStage La MaMa, dedicated to the playwright and to all aspects of the theatre. —Ellen Stewart Graeme Gillis Sophomore and above, Component—Year La MaMa Experimental Theatre Club in New York City DownStage is an intensive, hands-on conference in has been the host of contemporary and international theatrical production. DownStage student producers theatre artists for 55 years. You will have the administrate and run their own theatre company. opportunity to attend performances, meet the They are responsible for all aspects of production, artists, participate in workshops led by them, as well including determining the budget and marketing an as have access to the La MaMa on the entire season of events and productions; they are history of international theatre in New York. Your expected to fill a variety of positions, both echnict al personal “syncretic theatre journey” is enhanced by and artistic, and to sit as members of the board of the observance of fellow theatre makers and oneself directors of a functioning theatre organization. In that is informed concretely by the application of addition to their obligations to class and designated text, research, movement, music, design, puppetry, productions, DownStage student producers are and multimedia, as well as social and political expected to hold regular office hours. Prior debate in class. Coordinators of the LaMaMa producing experience is not required. This class International Symposium for Directors, David meets twice a week. Diamond and Mia Yoo, will host you in New York City, where you will exchange ideas with visiting and local Internship Conference artists from Yara Arts Group and the Great Jones Neelam Vaswani Repertory Theatre. Historical/contemporary Intermediate, Component—Year experimental texts will be discussed, such as: For students who wish to pursue a professional Psychosis by Sarah Kane, Death and the Kings internship as part of their program, all areas of Horseman by , Strange Interlude by producing and administration are possible: Eugene O’Neill, The Caucasian Chalk Circle by Bertolt production, marketing, advertising, casting, Brecht, A Dream Play by August Strindberg, development, etc. Students must have at least one Thunderstorm by Cao Yu, Goshram Kwotal by Vijay day each week to devote to the internship. Through Tendulkar, Venus by Susan-Lori Parks, Ruined by Lynn individual meetings, we will best determine each Nottage, and Mistero Buffo by Dario Fo, as well as student’s placement to meet individual academic Fernando Arrabal, Antonin Artaud, and Martin Crimp. and artistic goals. Required reading: TBA. This course is a theatre history component in the theatre program. This class meets once a week. 138 Theatre Production Workshop Theatre students may be invited to Robert Lyons participate in outside programs, Component—Fall and Spring including: The creative director of the theatre program will lead a discussion group (including readings, workshops, and productions) for all of the directors, London Theatre Tour assistant directors, and playwrights participating in William D. McRee the fall theatre season. This is an opportunity for Open, Intersession students to discuss with their peers the process, The purpose of this course is to experience and problems, and pleasures of making theatre at Sarah examine present-day British theatre: its practices, Lawrence College (and beyond). This workshop is playwrights, traditions, theatres, and artists. This is part problem solving and part support group, with a two-credit academic course, and any student the emphasis on problem solving. This course is enrolled at Sarah Lawrence College is eligible to take required for directing, assistant directing, and the class. During two weeks in London, students will playwriting students whose productions are included attend a minimum of 12 productions, tour various in the fall theatre season. This class meets once a London theatres, meet with British theatre artists, week. attend regularly scheduled morning seminars, and make an oral presentation on one of the plays that the group is attending. Plays will be assigned prior to Stage Management the end of the fall semester, and preparation and Greta Minsky, Neelam Vaswani research for the presentation should be complete Open, Component—Fall and Spring before arriving in London. Productions attended will This course is a hands-on laboratory class in the include as wide a variety of venues, styles, and skills, practices, and attitudes that help a stage periods of theatre as possible. Seminars will analyze manager organize an environment in which a and critique the work seen, as well as discover theatrical team can work together productively and themes, trends, and movement in the contemporary with minimum stress. Classroom exercises and theatre of the country. Free time is scheduled for discussion augment the mentored production work students to explore London and surrounding areas at that is assigned to each student. Script analysis, their leisure. These intersession credits are blocking notation, prop management, and cue registered as academic, not arts, credits. writing/calling are among the topics covered. Knowledge of—and practice in—stage management are essential tools for directors and The London Theatre Program useful supplements for actors and designers. This Seminar class meets once a week during the fall semester and Sponsored by Sarah Lawrence College and the British is taught by Ms. Minsky. Spring semester is taught by American Drama Academy (BADA), the London Ms. Vaswani and is devoted to mentored production Theatre Program offers undergraduates from Sarah practicums. Lawrence an opportunity to work and study with leading actors and directors from the world of British theatre. The program offers acting classes Tools of the Trade with leading artists from the British stage. These are Robert Gould complemented by individual tutorials, where Open, Seminar—Year students work one-on-one with their teachers. A This is a stagehand course that focuses on the nuts faculty selected from Britain’s foremost drama and bolts of light and sound board operation and schools teaches technical classes in voice, projection technology, as well as the use of basic movement, and stage fighting. This intense stage carpentry. This is not a design class but, conservatory training is accompanied by courses in rather, a class about reading and drafting light plots, theatre history and theatre criticism, tickets to assembly and troubleshooting, and basic electrical productions, and the experience of performing in a repair. Students who take this course will be eligible professional theatre. In addition, master classes and for additional paid work as technical assistants in workshops feature more of Britain’s fine actors and the theatre department. This class meets once a directors. Designed for dedicated students who wish week. to study acting in London, the program offers enrollment in either the fall or spring semester for single-semester study. Those wishing to pursue their training more intensely are strongly encouraged to THE CURRICULUM 139 begin their training in the fall and continue with the Courses offered in related disciplines this year are Advanced London Theatre Program in the spring listed below. Full descriptions of the courses may be semester. Audition required. found under the appropriate disciplines. Landscapes in Translation: Cartographies, Visions, La MaMa E.T.C. and Interventions (p. 30), Charles Zerner Intersession—Summer Environmental Studies La MaMa E.T.C. sponsors two summer events in First-Year Studies: In the Tradition: An Introduction Umbria, Italy, in conjunction with Sarah Lawrence to African American History (p. 52), Komozi College: International Symposium for Directors, a Woodard History three-week training program for professional Love, Sex, and Globalization (p. 65), John (Song Pae) directors, choreographers, and actors in which Cho Lesbian, Gay, Bisexual, and Transgender internationally renowned theatre artists conduct Studies workshops and lecture/demonstrations; and Queer New Media (p. 67), John (Song Pae) Cho Playwright Retreat, a one-week program where Lesbian, Gay, Bisexual, and Transgender Studies participants have ample time to work on new or Literary London (p. 73), Fiona Wilson Literature existing material. Each day, master playwright Lisa An Introduction to Statistical Methods and Kron will meet with the playwrights to facilitate Analysis (p. 78), Daniel King Mathematics discussions, workshops, and exercises designed to Amandla! Power, Prejudice, Privilege, and South help the writers with whatever challenges they are African Human Development Under and After facing. More information is available at: Apartheid (p. 105), Kim Ferguson (Kim Johnson) http://lamama.org/programs/la-mama-umbria. Psychology Constructing Citizenship, Dismantling Hierarchies: Other courses of interest are listed below. Full The Immigrant and Racial Struggle for Political descriptions of the courses may be found under the Equality (p. 114), Luisa Laura Heredia Public appropriate disciplines. Policy The Art of Protest (p. 114), Luisa Laura Heredia Public Making It Work (p. 25), Aaron Mattocks Dance Policy Shakespeare and the Semiotics of Borders and Transnational Mobilities (p. 121), Performance (p. 69), Joseph Lauinger Literature Parthiban Muniandy Sociology Body and Soul: Drawing From Life (p. 146), Gary Cities of the Global South (p. 121), Parthiban Burnley Visual and Studio Arts Muniandy Sociology

URBAN STUDIES VISUAL AND STUDIO ARTS

Urban studies is dedicated to the study of cities Students enrolled in a visual and studio arts course across disciplines, focusing on the fabric of cities at Sarah Lawrence College work in a new and the culture, society, and economy particular to environment created to support the College’s unique cities and to those who live within them. Some of the arts pedagogy: a philosophy of teaching that not only topics that urban studies may explore are the encourages individual investigation into the nature histories of cities; space, design, and power; cities of the creative process but also provides a setting to and suburbia; the city and the country; megacities; foster the exchange of ideas across artistic casino urbanization; cities remembered (memoirs disciplines. based on urban space); and cities of the future (real While courses are taught in the traditional and science fiction cities). Among the many themes seminar/conference format, the Monika A. and addressed in urban studies are space and sociability, Charles A. Heimbold, Jr. Visual Arts Center is including urban planning, public and private space, specifically designed to break down barriers among social relations and structures, the right to city visual-arts media. The Center features ateliers that space, gender and power, urban social movements, give each student an individual work area for the and public art. Among the many disciplines that year, while its open classrooms and movable walls offer courses related to urban studies are encourage students to see and experience the work anthropology, architecture, economics, of their peers in painting, sculpture, photography, environmental studies, politics, public policy, and filmmaking, printmaking, drawing, visual sociology. fundamentals, and digital imagery. Students may 140 Visual and Studio Arts enhance their work in a chosen discipline by First-Year Studies: Basic Analog enrolling in a workshop—a minicourse—selected Black-and-White Photography from 10 offerings annually. In some visual-arts courses, a particular workshop will be required. This Michael Spano recently developed program expands students’ Open, FYS—Year technical skills and enables them to utilize different This analog, film-based oursec introduces the media in the development of their work. Workshops fundamentals of black-and-white photography: are open to students of any visual-arts medium, acquisition of photographic technique, development promoting even more interaction and understanding of personal vision, and discussion of photographic across disciplinary boundaries and furthering the history and contemporary practice. Reviews are College’s overall emphasis on interdisciplinary work designed to strengthen the understanding of the The Heimbold Center, a high-performance creative process, while assignments will stress “green” building, embodies an environmentally photographic aesthetics and formal concerns. friendly approach that features safe alternatives to Conference work entails research into historical toxic materials, special venting systems, and an movements and, through slide presentations, abundance of natural light. In addition to well- individual artists' working methods. Throughout the equipped, open-space studios, individual ateliers, year, students will be encouraged to make frequent and digital technology in every studio and classroom, visits to gallery and museum exhibitions and share the building also includes space for welding, their impressions with the class. The relationship of woodworking, clay and mold making; a common photography to liberal arts also will be emphasized. darkroom, digital imaging lab, and critique rooms; Students will develop and complete their own bodies and a sound studio, screening room, and large of work as culmination of their study. This is not a exhibition area. The Center’s doors open onto a digital photography course. Students must have a miniquad, allowing students from throughout the 35mm film or medium-format film amerc a and be College both access to and inspiration from their able to purchase film and gelatin silver paper peers’ works-in-progress. throughout the year. The visual-arts curriculum is reflected in—but not confined o—thet Heimbold Center’s visual-arts Painting on Site facilities. The building also houses courses in visual John O’Connor culture, increasing the integration of the creative Open, Seminar—Fall arts and the humanities. The College’s proximity to This will be a rigorous art course meant for students New York City brings recognized artists to campus to who are serious about delving deeply into painting lecture and also gives the students the opportunity and drawing through the spaces around them. Each to visit hundreds of galleries and some of the world’s week, we’ll travel to a different location to paint “on major museums. site.” We’ll work in nature (on various locations along Faculty members are working artists who the Hudson River), from architecture (in New York believe in the intrinsic value—for all students—of City, Yonkers, the Cloisters), and draw in museums creative work in the visual arts, the inseparable (Metropolitan Museum of Art and Museum of Natural connection of the creative arts and the liberal arts, History). As we travel to make art, you’ll be rendering and the necessity of art in life. All visual-arts faculty from within: How can your paintings express the and their students have access to technicians, based specific empert ature, light, color, and the temporal in the Heimbold Center, who can provide technical conditions of changing spaces? Ultimately, your support in most areas. paintings will reflect how you see the world through In 2017-18, various workshops in the visual-arts intense observation. Course preference is given to disciplines will be offered that serve to broaden those who have painting experience. Studio practice students’ vocabulary and technical skills. In the past, will be reinforced through discussion, written work, workshops in Metalworking, Letterpress, Web Design, readings, and slide lectures for context. Visiting Drawing, Water Color, Woodworking, Artist Books, artist lectures are mandatory. Final Cut, Sculpture Methods, and Photoshop have been offered. Experimental Drawing John O’Connor Open, Seminar—Spring Drawing is a dynamic art form that encourages experimentation and embraces mistakes. It’s a reflection, on paper, of how we think. This will be a THE CURRICULUM 141 highly creative, process-based drawing course that Art From Code will challenge you to think about the medium in new Angela Ferraiolo and transformative ways. We’ll make open-ended, Open, Seminar—Fall experimental drawings, moving from the A “live coding,” practice-based introduction to visual representational into the abstract and beyond. Our arts programming, including color, shape, subjects will include the human figure, space, transformations, and motion, this course is designed memory, portraiture, time, text, installation, collage, for artists with little or no prior programming the imagined, collaboration, color, and humor, experience. We'll meet twice weekly to code together among others. Permeating all of this will be our live, working on short, in-class exercises within a investigation into ways of introducing content into larger analysis of the social, cultural, and historical your work: What will your drawings be about? nature of programming cultures. All students will be Through varied, in-depth, exploratory projects, you’ll required to keep a sketchbook and participate in gain a greater understanding of the tools and installation. Artists include Reas, Davis, Riley, techniques of drawing and will learn to combine MacDonald, and others. Taught in Javascript, HTML5, ideas and mediums in inventive, personal, thought- and Processing. provoking ways. Studio practice will be reinforced through discussion, written work, readings, slides, and museum visits. Visiting artists and studio visits Game Studio: Nonlinear and with artists in New York City will be scheduled. Interactive Narrative Angela Ferraiolo Our Nine Senses: Advanced Studio Sophomore and above, Small seminar—Fall John O’Connor As more stories are delivered on interactive devices, Advanced, Seminar—Year our idea of narrative keeps changing. This course This course is intended for advanced visual-arts explores the strategies of nonlinear, multilinear, students interested in more fully pursuing their own modular, and interactive forms of design, while art-making processes. Students making work in analyzing several examples of the nonlinear story painting, drawing, sculpture, video, mixed media, design found in games, electronic literature, and performance, etc. are supported. Students will interactive art. Students will develop the critical maintain their own studio spaces and will be tools to create and analyze interactive projects. All expected to work independently and creatively and students will keep a sketchbook, participate in game to challenge themselves and their peers to explore night, develop one nonlinear or interactive narrative, new ways of thinking and making. During the fall and write one five-page design document. Artists semester, students will be given open-ended include Leishman, Gysin, Eco, Calvino, Mateas, and prompts based on nine human senses (vision, others. Taught in Unity 2D/C#, with Pyskel, Tiled, and hearing, smell, taste, touch, balance, temperature, GarageBand. proprioception, pain), from which they will be asked to experiment with how they make work and will be New Genres: Cultural HiJack encouraged to work across mediums. In the spring Angela Ferraiolo semester, students will focus exclusively on their Sophomore and above, Small seminar—Fall own interests and will be expected to develop a Is art the new politics? Cultural HiJack examines the sophisticated, cohesive body of independent work work of artists attempting to subvert, critique, and accompanied by an artist’s statement and solo overthrow the dominant paradigm though street art, exhibition. We will have regular critiques, readings, anti-advertising, meme wars, flash mobs, instant image discussions, and trips to artist’s studios; and theatre, guerilla projection, and spatial intervention. we will participate intimately with the Visual Arts Artists surveyed include Guerrilla Girls, RTMark, Lecture Series. This will be an immersive studio Rosler, Holzer, Marchessault, Banksy, Fairey, Acconci, course for disciplined art students interested in and Franco and Eva Mattes, along with readings from making art in an interdisciplinary environment. Open Dery, Klein, Debord, Gramsci, Lacy, and others. to juniors and seniors with extensive prior visual art Working either individually or in small groups, experience. students will collaborate on campaigns of détournement, designing and implementing inventions of their own through alternative and hybrid forms. 142 Visual and Studio Arts Digital Tools for Artists Painterly Print Angela Ferraiolo Vera Iliatova Open, Seminar—Spring Open, Seminar—Year This course provides fundamental instruction in art This course is an opening foray into the possibilities installation. Students will learn the basics of digital of painterly printmaking and experimental processes imaging, interaction, spatial design, and video that merge printmaking with painting and drawing. mapping while working toward proficiency with the The course will also cover fundamentals such as tools of installation art. We will meet twice weekly, basic drawing and color mixing. As means to explore once for a skills workshop and again for a guided their individual idea, students will investigate a wide work session. Artists surveyed include Albers, Klimt, range of possibilities offered by monoprint Kusama, Menard, Mock, Nakamura, Holzer, and techniques and will experiment with inks and paints, others. Taught in Photoshop, After Effects, VPT, and stencils, multiple plates, and images altered in Max/MSP Jitter. sequence. Students will begin to develop a method to investigate meaning, or content, through the Game Studio: Radical Game Design techniques of painterly printmaking. There will be an examination of various strategies that fluctuate Angela Ferraiolo between specific in-class assignments and Sophomore and above, Small seminar—Spring individual studio work. In-class assignments will be From Hopscotch to MolleIndustria, game designers supplemented with PowerPoint presentations, have used play as a means of imprinting culture and reading materials, film clips and video screenings, subverting power. Games are small and viral. They group critiques, homework projects, and visits to emerge and disappear. They grip the online world artist studios. obsessively or blend seamlessly into the underground. Above all, games are easily dismissed by authority, making them an ideal means of Beginning Painting: From spreading social and political dissonance. This class Observation to Invention surveys radical game design as practiced by artists Vera Iliatova like MoilleIndustria, Anne Marie Schleiner, Natalie Open, Seminar—Fall Bookchin, Donna Leishman, Eddo Stern, Ian MacLarty, This course is an introduction to the materials and and others. We will also consider the historical roots techniques of oil painting. There will be an of radical design, which finds its beginnings in Dada, examination of various painting strategies that Surrealist, Fluxus, and Situationist games, and play fluctuate between specific in-class assignments and methods explored by artists like George Brecht, John individual conference projects. The primary focus Cage, and William Burroughs. Taught in Unity 2D/C#, will be an elaboration on rudimentary concepts such with Pyskel, Tiled, and GarageBand. as color, tonal structure, spatial construction, painting surfaces, and composition. The fall New Genres: Interactive Art semester focuses on the subjects of still life and landscape, which will be starting points for Angela Ferraiolo experimentation with spatial structures ranging Sophomore and above, Small seminar—Spring from direct observation to composite constructions. This course focuses on the cutting-edge We will also explore narrative possibilities that technologies behind interactive art and dynamic landscape and still-life paintings can imply; and we installation. Students will work in a programming will examine the role of these subjects in the history environment called Max/MSP/Jitter to create of painting and other visual media. The course will installations that dynamically generate on-screen culminate in an individual project that will be visuals, spectacle, and noise while combining researched by the student and discussed during multiple types of media to create an overall theme. conferences and course critiques and will include a Topics include an introduction to Max, basic large-scale painting. In-class assignments will be patching, control logic, external/live video input, supplemented with PowerPoint presentations, reactive visuals, color/object tracking, openCV in reading material, film clips and video screenings, Jitter, sensors, and the glitch aesthetic. Artists group critiques, and homework projects. Students surveyed are Ikeda, Rokeby, Benson, Liddell, are required to work in the studio outside the class TeamLAB, and others. Taught in MAX/MSP Jitter with time in order to develop the work. The goal of the LEAP, Kinect, sensors, and cameras. Prerequisite: Art course is to gain confidence with technical aspects from Code or Digital Tools for Artists. of painting and to begin to establish an individual studio practice. THE CURRICULUM 143 Beginning Painting: From Art Is a Lie: Making Paintings Observation to Narrative About the World Vera Iliatova Kanishka Raja Open, Seminar—Spring Open, Small seminar—Spring In this course, students will be introduced to the Using Picasso’s famous observation as a frame of materials and techniques of oil painting. There will reference and a prompt, this class will explore ways be an examination of various strategies that in which to represent our contemporary lives via the fluctuate between specific in-class assignments and medium of painting. In an age of ubiquitous digital individual studio work. Color theory and color mixing media, painting has proven to be a surprisingly will be an integral part of the course. We will focus effective and resilient means for artists to comment primarily on portraiture and figure, as well as on the incisively on every aspect of our world. historical, psychological, and narrative implications Contemporary painters address issues ranging from of using a human form as a subject. There will be an climate change to social justice, geo to gender exploration of studio-based strategies that will politics, globalization to the most local and personal include working from observation and using narratives. Through an exploration of basic mediated imagery such as film stills, photography, techniques of oil painting, as well as by studying and art history. The course will culminate in an examples of works by today’s artists, students will individual project that will be researched by the embark on the process of developing their own voice student and discussed during conferences and and visual language by which to express their ideas course critiques and will include a large-scale and subjects. A combination of studio-based painting. In-class assignments will be supplemented experimentation, discussions, presentations, and with PowerPoint presentations, reading material, field trips ot museums and galleries will be involved. film clips and video screenings, group critiques, and Projects may also focus on the impact and relevance homework projects. Students are required to work in of digital technology on the form, content, and the studio outside the class time in order to develop modes of production of contemporary painting. Open the work. The goal of the course is to gain to all levels of expertise, from beginner to confidence with technical aspects of painting and to experienced, the emphasis in this class will be on begin to establish an individual studio practice. learning and refining basic echniquest and nurturing your ideas into fruition. Seeing Is Believing: How to Draw the World America as Photographic Art Kanishka Raja Joel Sternfeld Open, Small seminar—Fall Open, Seminar—Fall Even in the image-drenched, media-saturated, digital In this course, students will study the work of Walker universe in which we live, the act of drawing Evans, Robert Frank, Stephen Shore, Alec Soth, and remains a fundamental means by which to record, the many others who have made the American scene document, translate, and analyze the worlds we their primary subject. At the same time, using the inhabit. Drawing communicates with an immediacy local landscape as a surrogate for the country as a and directness that transcends language and whole, students will make their own photographs facilitates understanding. From film ot fashion, and studies of the look and meaning of the American animation to game design, every aspect of visual experience. America was young when photography culture depends on the primacy of drawing as a was invented in 1839. The “old world” had been means by which to communicate our ideas and depicted in painting, but the sights and sounds of interpret our environment. Learning to draw the the new nation were different from anything that world can thus be said to be the process of learning had come before. Photography and America grew up to see the world. By following some basic principles together—and they made good companions. Much of observation and expression, this is an ability of photography's development as a medium in the available to anyone willing to allow his/her eye and 20th century took place in America and under mind to be receptive to patient practice. Designed American terms. While this special relationship may for all levels of expertise, from beginner to advanced, be at a conclusion, the perpetually evolving this class will explore multiple approaches to American physical, social, and political landscape yet drawing, from observation to invention, using a remains rich subject matter open to everyone with a variety of media ranging from graphite to ink, desire to investigate and express their watercolor, and alternate media. understanding. 144 Visual and Studio Arts The New Narrative Photography special equipment. A desire to explore and experiment and to create a personally meaningful Joel Sternfeld body of work are the only prerequisites. Open, Seminar—Fall and Spring A photograph presented alone and without a fully descriptive caption is like a simple utterance. “Ooh,” Printmaking: Silkscreen “Aah,” and “Huh?” are its proper responses. When Kris Philipps pictures are presented in groups with accompanying Open, Small seminar—Fall and Spring text (of any length) and perhaps in conjunction with This course introduces the student to the basic political or poetic conceptual strategies, however, fundamentals and concepts of silkscreen printing in any statement becomes possible. The photographs an environment that practices newly-developed, can begin to function as a sentence, a paragraph, or nontoxic printmaking methodologies. Participants an entire treatise. Whether working in fiction, in will learn how to develop an image (either hand- nonfiction, or in a fictive space, artists such as Alan drawn or computer-generated), how to transfer the Sekula, Robert Frank, Susan Meiselas, Taryn Simon, image to paper, and how to print an edition with Jim Goldberg, Ronie Horn, and others have been in primary emphasis placed on the development of the process of transforming photography with their each class member’s aesthetic concerns. Exercises work for the past 30 years. Or perhaps they have in color and color relationships will also be included created a medium: The New Narrative Photography. in the content of this class. In this course, students will initially study the work of these narrative photographers and either write about their work or make pictures in response to it. Relief Printmaking The culmination of this experience will be the Kris Philipps students' creation of their own bodies of work. If you Open, Small seminar—Fall and Spring have a story to tell or a statement to make or a In this class, students will be introduced to linocut, phenomenon that you wish to study and describe, woodcut, and polymer plate techniques—each as an this course is open to you. No previous photographic expression of what is known as relief printmaking experience is necessary nor is any special and each practiced in a nontoxic studio environment. equipment. The opportunity to forge a new medium Experimentation in these mediums will enable is rare. This course aims to create the forum and the students to reach beyond the production of simply a conditions necessary for all to do so in a critical and one-color print but, rather, into reductive printing, supportive workshop environment. embossing, and multicolor prints. Emphasis is placed on the development of each class member's The Ideas of Photography: Moving aesthetic concerns. Beyond Influence Sculpture and Play Joel Sternfeld Open, Seminar—Spring Kenneth Tam This course is a hybrid. Each week of the semester, a Intermediate, Seminar—Fall and Spring different photographic idea or genre will be traced In this semester-long course, students will learn to from its earliest iterations to its present forms play. This is not the innocent play of the schoolyard through slide lectures and readings. Each week, but play where ideas about sculpture and object students will respond with photographic work making are understood through constant physical inspired by the visual presentations and readings. experimentation coupled with thoughtful reflection Topics include personal dress-up/narrative, and critical thinking. The class will use play as a composite photography/photographic collage, the principle from which to approach art making and directorial mode, fashion/art photography, new will emphasize the way “playing” can inform creative strategies in documentary practice, abstraction/new activity through artistic, material investigations. photography, the typology in photography, the This class will introduce students to various photograph in color, and the use of words and fundamental techniques and principles related to images. In the final portion of the semester, the sculpture and to contemporary art in general. It will emphasis will shift as students choose to work on a consist of in-class demonstrations and subject and in a form that coincides with the ideas presentations, assigned projects, readings, and field they are most compelled to express. No previous trips to galleries and museums. Assignments will experience in photography is necessary nor is any culminate with a group critique, which will give students the opportunity to not only engage with each other directly about their work but also to learn THE CURRICULUM 145 from one another and to value divergent opinions 3D Modeling from the class as a whole through critical dialogues. Shamus Clisset This class will look at a wide range of artists that Open, Seminar—Fall work both within and at the edges of the This course introduces students to the process of contemporary sculptural field and will give students constructing digital objects and environments in the a basic familiarity with contemporary sculptural virtual space of the computer. Emphasis will be on a practice in its many forms. Students will learn to strong grasp of form, space, and composition. work with standard sculptural materials, as well as Fundamentals of hard-edge and organic surface those of a less conventional nature. Throughout the modeling will be thoroughly exercised, while further semester, you will be encouraged to consider how exploration of the digital tools will cover shading and sculpture can act as a mode of physical and even texturing, lighting, and rendering with the virtual conceptual play and how this sustained play can camera. Over the course of the semester, students become a way of thinking creatively. You will not will be challenged to create increasingly complex only learn how things are made but, more objects, environments, and imagery. Through importantly, how they can come apart and be readings and discussion, students will also be expressed differently. Students are not expected to encouraged to consider the conceptual ramifications have prior knowledge about contemporary art or of working in computer space. Contemporary sculpture. Rather, they are asked to bring a fearless examples of computer-generated imagery in art, and adventurous attitude to both the classroom and film, and media—juxtaposed with historical views their projects. The goal of this class is not only to on visual illusion from art and philosophy—will form further one’s appreciation of sculpture as related to a broader context in which to examine the medium. contemporary art but also to give students the opportunity to re-imagine the physical world by way of the creative act. Students will be expected to Introduction to Digital Imaging challenge themselves through their work, enrich the Shamus Clisset in-class dynamic through their active participation, Open, Seminar—Spring and, most importantly, play. Please bring to the This course covers contemporary digital practice, interview images of any relevant past work or ideas with an emphasis on Photoshop skills and imaging for possible future projects. techniques from scanning to printing. Proper digital workflow is the focus, while working through the Video Fields basics of image manipulation tools, color correction, and retouching. The skills covered will build a solid Sara Magenheimer basis for further exploration of photography, fine-art Open, Seminar—Fall printing, and more radical digital experiments. The This course will provide a context in which to explore broader classroom discussion emphasizes computer- video as an artistic medium. We will engage with generated and -manipulated imagery as a new both conceptual and material questions relating to paradigm in contemporary art, photography, and video art inside and outside the gallery. We will view culture in general. Students are encouraged to and discuss historical and contemporary precedents explore the potential of digital tools in the context of in the areas of installation, disrupted narratives, their personal work—visual arts-related or encounters with objects, site specificity, otherwise—stressing open-ended visual architectural interventions, guerilla interventions, possibilities, as well as technical and conceptual light collage, atmospheric gestures, virtual reality, rigor. and dispersion via the Internet and social media. Through a number of assignments, we will explore the varied practices of artists who employ video Color today, specifically exploring alternative approaches Gary Burnley to moving-image display and what happens when we Open, Seminar—Year leave the cinema screen. Prior experience with Color is primordial. It is life itself, and a world photography, sound, and moving image is desirable without color would appear dead and barren to us. but not absolutely necessary. Nothing affects our entire being more dramatically than color. The children of light, colors reveal and add meaning, giving richness and fullness to all that surrounds us. A vehicle for expressing emotions and concepts, as well as information, color soothes us and excites us. Our response to color is both 146 Writing biological and cultural. It changes how we live, how Introduction to Film History, Part II (p. 32), Kenneth we dream, and what we desire. Using a variety of White Film History methods and materials, this course will focus on an Paranoid Style in Cinema (p. 33), Kenneth White Film exploration of color, its agents, and their effects. Not History a painting course, this class will explore First-Year Studies: Fundamentals of Nonfiction relationships between the theory, perception, use, Animation (p. 35), Robin Starbuck Filmmaking and physiology of color. Clearly defined problems and and Moving Image Arts exercises will concentrate on understanding and Media Sketchbooks (p. 38), Robin Starbuck controlling the principles and strategies common to Filmmaking and Moving Image Arts the visual vocabulary of color, (hue, value, The New Elements: Mathematics and the saturation, form, context, texture, pattern, space, Arts (p. 79), Philip Ording Mathematics continuity, repetition, rhythm, gestalt, and unity), as Art and Visual Perception (p. 113), Elizabeth Johnston well as the personal, psychological, symbolic, Psychology expressive, and emotional consequences of that Words and Pictures (p. 148), Myra Goldberg Writing visual vocabulary.

Body and Soul: Drawing From Life WRITING Gary Burnley Open, Seminar—Year In Sarah Lawrence College’s nationally recognized For a visual artist, the human form provides a writing program, students work in close subject unlike no other. Descriptively, emotively, collaboration with faculty members who are active, biologically, and culturally, the figure is a mirror, the successful writers. The program focuses on the art representation of who we are as well as who we and craft of writing. Courses in poetry, fiction, and wish to be. For the artist, a true understanding of the creative nonfiction are offered. human form—its unique formal, symbolic, narrative, In workshops, students practice their writing psychological, and historical role—comes through and critique each other’s work. The program prolonged and detailed exploration. The potential of encourages students to explore an array of the human form as an artistic resource will be the distinctive perspectives and techniques that will focus of this yearlong course. Daily exercises, both in extend their own writing ability—whatever their and outside the studio, that stress the development preferred genre. Conferences provide students with of personal vision and disciplined work habits will be close, continual mentoring and guidance and with key to growing each student’s observational and opportunities to encounter personally their teachers’ technical skills. Over the course of the year—using professional experiences. Teachers critique their both observation and memory, as well as a variety of students’ writing and select readings specifically to materials and methods and an analysis of the augment or challenge each student’s work. In relationships between gesture and form, rhythm and conferences, student and teacher chart a course of movement, and structure and biology—will lay the study that best allows individual students to pursue foundation necessary for individual expression. subjects and issues that interest them, to develop their own voice, to hone their techniques, and to Other courses of interest are listed below. Full grow more sophisticated as readers and critics. descriptions of the courses may be found under the The College offers a vibrant community of appropriate disciplines. writers and probably the largest writing faculty Images of India: Text/Photo/Film (p. 12), Sandra available to undergraduates anywhere in the Robinson Asian Studies country. Visits from guest writers who give public Dance in Frame (p. 24), Rosane Chamecki , Andrea readings and lectures are an important component Lerner Dance of the curriculum throughout the year. Landscapes in Translation: Cartographies, Visions, Sarah Lawrence College also takes full and Interventions (p. 30), Charles Zerner advantage of its proximity to the New York City Environmental Studies literary scene, with its readings, literary agencies, Black Box/White Cube: Moving Image Art In and Out publishing houses, and bookstores—as well as its of the Cinema and Museum (p. 33), Kenneth wealth of arts and culture. The city provides fertile White Film History ground for internships in which students can use Introduction to Film History, Part I (p. 31), Kenneth their writing training in educational programs, White Film History schools, publishing houses, small presses, journal productions, magazines, and nonprofit arts agencies. THE CURRICULUM 147 First-Year Studies: Subject Matter, (again, discussed in class). Each week, we will read Voice, Form, Purpose one to three stories to highlight the week’s subject and to build a shared writers’ vocabulary. Conference Carolyn Ferrell work will involve additional writing and reading. In Open, FYS—Year the spring semester, our writing group will delve What does it mean to be a writer today? How do we deeper into the narrative possibilities of the story find our subject matter, our voices, our forms? The form. We might decide to focus our class reading writer Paula Whyman observed, “Art in its many with regard to certain themes that are emerging out forms can give voice to our concerns, hopes, fears, of the class fictions. Additionally, each student will anxieties—and joys. Art can provide solace. It can explore the full body of work of an established spur engagement. It can increase understanding. It writer, as well the work of her or his influences, can help us feel less alone.” Through weekly reading which will be presented to the class at the end of the and writing assignments, we will begin the journey year. into understanding who we can be as fiction writers. We’ll explore questions of craft: What makes a story a story? How does one go from word to sentence to First-Year Studies: Is Journalism paragraph to scene? Does there always need to be What We Think It Is? transformation? What is the role of setting? And Marek Fuchs how does structure help create voice? The workshop Open, FYS—Year will be divided between discussions of student This class will both investigate journalism as a stories and of published fiction writers, including social, cultural, and historical phenomenon and , , Dorothy Allison, employ journalism as a practice by which to Claudia Rankine, and Lesley Arimah. We will also read encounter the world. We will immerse ourselves in from other genres, including graphic memoirs and journalism’s intricacies and complexities, its essays on craft by authors such as James Baldwin, strengths and faults, and come to understand it not Richard Russo, Roxane Gay, and Robin Hemley. only as a working trade and history’s first draft but Students are required to do additional conference also as a literary art in its own right—one with as reading, as well as to attend at least two campus many deep imperatives and as rich a tradition as readings per semester. From the start, we will work poetry or fiction. eW will survey the best (and a little on developing our constructive criticism; when bit of the worst) of short- and long-form journalism developed in a supportive atmosphere, our critiques and, over the course of the year, craft everything should help us better grasp the workings of our from brief profiles ot ambitious investigative pieces. stories and see what those stories can be in the How does a writer know which details to highlight world. and which to subordinate? What is the nature of good interviewing technique? How does one First-Year Studies: A Life in interview a willing source as opposed to a resistant Fiction, the Craft of Fiction one? When should one write concisely, and when is it appropriate to expatiate? What are the ways in Victoria Redel which a journalist interacts with—and runs the Open, FYS—Year danger of contaminating—his or her subject? We In this yearlong fiction class, ew will create a will ask and answer these and many other questions community of writers committed to the craft of and spend significant time puzzling out the ways in fiction—namely, reading and writing every day. In which fundamental journalistic practice leaps from the fall semester, full attention will be given to the print to television to new media. Prominent short story in all of its possibilities. We will consider journalists will be invited to talk to us and tell us the possibilities in a writer’s tool belt: POV, tone, what they do. Readings will range from H. L. structure, character, diction, tense, narrative, Mencken, George Orwell, Janet Malcolm, Joseph distance, etc. Weekly writing experiments, weekly Mitchell, and Truman Capote to Joseph Roth. close reading, and formal annotations of published short stories will be assigned. In the fall, we will approach the short story in a systematic First-Year Studies: Writing the way—building up from the demands of the opening Literature of Fact sentence and opening paragraphs to the demands of Nicolaus Mills event and complication and the development of Open, FYS—Year character. We will take a story through to a first The aim of this course is to have students produce a draft (workshopped in class) and then to revision range of nonfiction essays. We start with basic 148 Writing reporting and work our way up to long-form Fiction Workshop journalism. Along the way, we will read a series of Melvin Jules Bukiet well-known nonfiction writers—among them George Open, Seminar—Year Orwell, Joan Didion, and James Baldwin. But the Some people think that all classes—especially reading that we will do is designed to serve the writing classes—should be “safe.” I don’t. I prefer writing. This is not a course in the history of the danger. Only by risking failure can anyone learn. I nonfiction essay. Essays are assigned with deadlines want students to care about what they write and for drafts, rewrites, and final opies.c The how they write; and if the consequences of caring assignments are those that any editor would give. include anxiety, trepidation, and night sweats, so be The aim of this course, to paraphrase Tom Wolfe, is it. Oh, class should also be fun. As for the content: to produce nonfiction as lively as fiction. Accurate You write, I read, we talk. Using student work as reporting is a non-negotiable starting and finishing examples, we talk about what makes one story point. The course will begin by emphasizing writing dynamic and another dull, what makes one technique; and as we move to longer assignments, character believable and another implausible, and, our focus will be on the role that research, mostly, what makes one sentence sing and another interviews, and legwork play in completing a story. croak. This course is not for first-year students with remedial writing problems or for those whose preference is fiction writing. Our World, Other Worlds Myra Goldberg First-Year Studies in Poetry: The Open, Seminar—Year This course explores prose writing with an emphasis Making of the Complete Lover on the creation of a world. The writing can be fiction Suzanne Gardinier or nonfiction and anc take place in this world, Open, FYS—Year another, or several. We will explore ideas about this The known universe has one complete lover, and that world and writing about this world and others and is the greatest poet. —Walt Whitman work on our writing to make it livelier and more real, no matter how imaginary our world is. This course This class will be a yearlong introduction to the ways runs in two parts, one semester each. You can take and means of making poetry, from the most one or both parts. One part will involve writing concrete to the least: the word, the line, the image, episodes to build a world that, revised, will become a the sonnet, the ghazal, the blues, prescience, truth, conference project; the other part will work on craft revision. Our text will be an anthology of 99 great and content exercises of all kinds, with the poems according to me, from ancient Sumer to the conference project distinct from the exercises. present, called “Love the Wild Swan,” supplemented Readings include folktales, religious writing, by poems your tastes will add to our mix. We will not philosophy, fiction, and newspaper items. discuss drafts of student work in class but in conference; in class, we'll discuss the mysteries of poems that we love as a way of figuring out how to Words and Pictures make new poems in dialogue with them. You will be Myra Goldberg expected to attend class, engage with assigned and Open, Seminar—Year suggested readings, participate in discussions, and, This is a course with writing at its center and other by the end of the course, produce: (a) a short critical arts—mainly, but not exclusively, visual—around it. essay on a poem; (b) a short biographical sketch of a We will read and look at all kinds of narratives, poet; (c) a 20-page anthology of poems, with children’s books, folk tales, fairy tales, and graphic introduction; and (d) a 10-page chapbook. The only novels and try our hands at many of them. The prerequisites for this class are a passion for reading reading tends to come from a wide range of times that equals your passion for writing and a and places and includes everything from ancient willingness to undertake whatever might be Egyptian love poems to contemporary Latin American necessary to read and write better on our last day of literature. For conference work, people have done class than on our first. graphic novels, animations, quilts, rock , items of clothing with text attached, nonfiction narratives that take a subject and explore it visually and in text, and distopian fictions with pictures. There will be weekly assignments that involve making something. This course is especially suited for students with an THE CURRICULUM 149 interest in some other art or body of knowledge that you’ve written, with the class coming together to they would like to make accessible to nonspecialists. create a constructive community of readers with the The spring semester will be similar in approach but kindness, toughness, honesty, and sensitivity that with different assignments and texts. This course can make a workshop a unique and valuable writing may be taken for one semester, either semester, or tool. Ambition and risk-taking will be encouraged, as as a yearlong class. we address a slew of other not-stupid questions such as: What makes a plot strong? Does a character The Revolution Will Not Be have to be likable? And how much truth goes into fiction? Outside eadingr will be designed to take you Televised: Writing and Producing in and out of your comfort zones, running the gamut Audio Fiction from realism to fabulism and featuring a multitude Ann Heppermann of rule makers and rule breakers for you to admire Open, Seminar—Year and inspire, love and loathe—sometimes The goal of this class is to start a revolution. Over the simultaneously. past few years, we have entered into a time of what is being called “The Second Golden Age of Radio.” But Compassion and Contempt there is a problem. This Golden Age is primarily nonfiction. This class will change that. Students will Emily Gould learn to write and produce groundbreaking Open, Seminar—Fall contemporary audio dramas for radio and podcast. Experienced writers who seek to prove that they are We will listen to emerging works from podcasts such wise—and young writers who seek to prove that as Welcome to Night Vale, The Truth, Wiretap, and they are experienced—are often guilty of the same Lore, as well as by authors who have played in this sin: We cultivate a jaded, cynical tone that's field: Miranda July, Rick Moody, Gregory Whitehead, hypercritical of everyone and everything that we Joe Frank, and others. We will also create our own encounter. This can be very effective; in fiction, critical discourse for contemporary audio readers tend to trust narrators or point-of-view drama—analyzing writings and essays from the characters who see their worlds through a dark lens. fields of screenwriting, sound art, contemporary But as cynicism becomes the default mode of music, and literature—to help understand and discourse, its effect is blunted. Just as insidious as analyze the works that we are creating. The creators knee-jerk contemptuousness, though, is anodyne, of Limetown and The Truth and other audio fiction upbeat blandness. Can we find a middle ground that makers will visit the class to talk about their stories enables us to stay true to our beliefs? How can and production processes. The class will also fiction writers make their opinions clear without contribute to the newly created Sarah Lawrence resorting to caricature? In this workshop, we’ll College International Audio Fiction Award (aka, The examine what it means to write with compassion Sarahs)—the first international audio fiction wara d and with contempt, using both modes as tools in a in the United States. Students will make works for series of creative exercises that will build to longer- The Very, Very, Short, Short Stories Contest and help form stories or lyric essays. Authors we’ll read may curate works for the award-show podcast. At the include Philip Roth, , Meaghan end of the year, students will take over WGXC radio Daum, Rachel Aviv, and Myriam Gurba. station in the Hudson Valley and broadcast their final conference projects. Fiction Workshop April Reynolds Mosolino No, Really, Where Do Ideas Come Open, Seminar—Fall From? A Fiction Workshop/ All great stories are built with good sentences. In this workshop, students will create short stories or Creative Bootcamp continue works-in-progress that will be read and Myla Goldberg discussed by their peers. Class sessions will focus on Open, Seminar—Fall constructive criticism of the writer’s work, and It’s not a stupid question. We’ll seek to answer it by students will be encouraged to ask the questions spending the first third of the semester engaging in with which all writers grapple: What makes a good writing exercises, thought experiments, intelligence story? Have I developed my characters fully? And gathering, and craft discussions designed to get does my language convey the ideas that I want? We your own ideas flowing and to provide seeds for the will talk about the writer’s craft in this class—how stories that you'll be writing. The rest of the people tell stories to each other, how to find a plot, semester will be devoted to workshopping what and how to make a sentence come to life. This 150 Writing workshop should be seen as a place where students include Joseph Cornell, Max Ernst, Chris Marker, Nan can share their thoughts and ideas in order to then Goldin, Kara Walker, Hannah Hoch, Ray Johnson, Kurt return to their pages and create a completed Schwitters, B. Ingrid Olson, Paul Sepuya, and Isa imaginary work. There will also be some short Genzken. Some of the possible writers that we read stories and essays on the art of writing that will set for this class include a mix of generations, forms, the tone and provide literary fodder for the class. genres—Bhanu Kapil, Charlie Fox, W. G. Sebald, Claudia Rankine, Theresa Hak Kyung Cha, Lisa The Prose Experiment Robertson, Chris Kraus, Danielle Dutton, Wayne Koestenbaum, Anne Carson, and Kathy Acker. This is Nelly Reifler a prose workshop, meaning that we’ll be reading Open, Seminar—Fall inside and outside of genres. Open to anyone willing All fiction is written taking into account the basic to read and write wildly and seriously. constraints of prose: grammar, punctuation, and the formal standards of style. In this class, we will explore the use of other structures to build Fiction Workshop compelling, surprising works of fiction. A writing Mary LaChapelle constraint can be as hypnotic as an illusionist’s Open, Seminar—Spring sleight of hand, freeing the writer’s mind for magic. Nabokov stated that there are three points of view We'll examine the effects of lists, footnotes, from which a writer can be considered: as a erasures, numbering, and omissions; the impact of storyteller, as a teacher, and as an enchanter. We will experiments with verb mood, unexpected points of consider all three, but it is with the art of view, and tense; different approaches to enchantment that this workshop is most dedicated. intentionally breaking established rules; and the We will walk through the process of writing a story. ways in which other formulae can help us and our Where does the story come from? How do we know readers find new paths ot our imaginations. Students when we are ready to begin? How do we avoid will work with writing assignments, play writing succumbing to safe and unoriginal decisions and games, and do in-class exercises to generate stories. learn to recognize and trust our more mysterious and We’ll read published fiction—by authors such as promising impulses? How do our characters guide Gertrude Stein, , Georges Perec, the work? How do we come to know an ending, and Junot Diaz, Maurice Kilwein Guevara, Matthew how do we earn that ending? And finally, how do we Sharpe, Elizabeth Crane, and others—created using create necessary to involve, such techniques. We’ll also discuss some theory persuade, and move the reader in the ways that around constraints in writing and talk with fiction is most apable.c We will investigate these contemporary authors about their writing processes. questions through a series of exercises meant to Workshop discussions will focus on students’ fiction generate and sustain your visions of a story, as well written with such techniques, and each student will as to put into practice the various elements of design a writing constraint. fiction: plot, character, setting, detail, dialogue, and exposition. We will learn how these seemingly Collage/Assemblage/Montage practical conventions of story writing have been used to virtuosic effect by authors such as Donald Kate Zambreno Barthelme, Jamaica Kinkaid, James Baldwin, Flannery Open, Seminar—Fall O’Connor, Tobias Wolff, ZZ Packer, George Saunders, In this generative seminar, we will think about how and others. You will generate your conference work writing can be inspired by and catalyzed from visual from your readings and exercises, develop it through forms. We will ask how literary texts can take on close critique in our classes and conferences, dimensions, fragments, and layers by seeing and present it in preliminary workshops, and finally thinking through collage, assemblage, and montage. submit your best work in a series of formal Much can inspire us about modes of juxtaposition workshops at the end of the semester. and hybridity—collage is usually marked by an obsessive vision, passionate and constant collecting, and the witty and melancholy gaze of history. Each Fiction: True or False? week, I will pair a collage artist with a chosen text Stephen O’Connor and ask you to write from and about and to be Open, Seminar—Spring inspired by these visual and literary forms for your In this class, we examine the much maligned but own prose pieces that you will assemble and that remarkably fruitful miscegenation of fiction and may cross the border between fiction and nonfiction. nonfiction. orF roughly the first half of the semester, Examples of visual artists at whom we might look we will read and discuss works that are either THE CURRICULUM 151 composed of both fiction and nonfiction or thatall c Connected Collections: Short such genre distinctions into question. We will begin Stories and How to Link Them by looking at ’s two accounts of being shipwrecked: one is a short story; the other, Mary Morris journalism/memoir. We will also read excerpts from Sophomore and above, Seminar—Year fiction that incorporate discrete nonfictional From Edgar Allan Poe to and Tim segments (John Berger’s Pig Earth and Milan O'Brien, writers have been engaged in the art of Kundera’s The Book of Laughter and Forgetting), writing stories that weave and interconnect. And in fiction that disguises itself as nonfiction (John some cases, these might become a novel told in Haskell’s I’m Not Jackson Pollock and Rachel Cusk’s stories. Whether through THEME (as in Poe or, more Outline), nonfiction that isn’t quite (Lauren Slater’s recently, Dan Chaon's Among the Missing or Joan Lying, Ryzard Kapuscinski’s The Emperor, and Zora Silber's Ideas of Heaven), through PLACE (as in James Neale Hurston’s Mules and Men), and works with no Joyce's Dubliners or Sandra Cisernos's House on clear genre (Jenny Boully’s The Body, John Edgar Mango Street), through CHARACTERS (as in O'Brien's Wideman’s Fanon, and Italo Calvino’s Mr. Palomar). The Things They Carried or Susan Minot's Monkeys ), The second half of the semester will be devoted to or, finally, through an INCIDENT that links them workshopping the students’ own mixed-genre works, (Haruki Murakami's After the Quake, 's the composition of which will be the primary focus The Sweet Hereafter, or Thornton Wilder's The Bridge of their conferences. Among the questions that we of San Luis Rey), writers have found ways to link will take up are: What are the differing advantages their stories. This workshop will focus on the writing of fiction and nonfiction? wHo does genre affect an of stories that are connected in one of these various author’s obligations to readers? Is there a clear ways. We will read from connected collections. distinction between the genres? When does blurring Exercises will be created in order to help students that distinction render thrilling art, and when does it mine their own material in order to create small amount to a con job? collections of narratives with similar preoccupations, terrains, or people. Each student will produce his/her own collection of 10-12 linked Fiction Workshop stories during the yearlong course. This is not a class Nelly Reifler in how to write a story, per se, but rather in how to Open, Seminar—Spring link them. Though not required, it is best if a student Our imaginations grant us waking dreams, and has previously worked in the genre and has had cultivating the imagination is a large part of writing some creative writing experience. good fiction. quallyE important, though, are sharpening our observations and mastering craft. In The Unconscious, The Absurd, the this course, we will aim for a balance of all these elements. We will pursue philosophical questions Sublime, and The Impossibly about writing, as well. For instance: Is there such a Probable thing as a reliable narrator? Does what is considered Mary LaChapelle realistic vary according to culture and era? What Intermediate, Seminar—Spring essentially defines a short story, as opposed to a This one-semester workshop will venture into more poem or an essay? Students will be encouraged to unlikely fictional erritt ories: dream narratives, stick with the revision process, to let go of preposterous situations served up matter-of-factly, preconceived ideas about subject matter, and to unscary ghost stories, speculative fiction, and experiment with language and form. During the first virtuosic works that elude comprehension but half of the semester, we will focus on writing and deliver you to the profound and pleasurable edges of reading short-short stories; the second part of the apprehension. To jar us from our more prosaic and term will be spent writing and discussing longer safe forms of fiction, ew will begin the semester pieces. We will read work by authors such as Anton with a series of exercises inspired by the stories of Chekhov, Katherine Anne Porter, Joy Williams, Shelley authors such as Gabriel Garcia Marquez, Franz Kafka, Jackson, Dolan Morgan, , Helen Oyeyemi, Virginia Woolf, Jorge Luis Borges, Angela Carter, and Gary Lutz. George Saunders, Clarice Lispector, and David Foster Wallace, as well as essays by , Immanuel Kant, and Charles Baxter. You will generate your conference work from the readings and exercises, develop it through close critique in our classes and 152 Writing conferences, present it in preliminary workshops, the questions above as a way of guiding our own and finally submit oury best work in a series of makings. Our readings may include the work of formal workshops at the end of the semester. James Baldwin, Anne Carson, Frantz Fanon, Elizabeth Cook-Lynn, Dionne Brand, Aimé Césaire, Adrienne Lines of Flight: A Mixed-Genre Rich, , Hannah Arendt, and Jean Améry, as well as that of Wallace Stegner, Donald Rumsfeld, Workshop Ward Churchill, Peter Matthiessen, Tom MacMaster, Cynthia Cruz Louise Mensch, and the Senate Intelligence Open, Seminar—Fall Committee Report on Torture. You will be expected to In the current political climate—where we are attend class, engage with assigned and suggested inundated each day with too much news and readings, participate in discussions, and, by the end information to fully comprehend while, at the same of the class, produce 20 pages of publishable time, becoming less and less certain what “truth” nonfiction. The only prerequisites are a passion for means—thinking as a form of exercise to work reading that equals your passion for writing and a through what is happening in the world becomes willingness to undertake whatever might be essential. Refraining from clichéed thinking and necessary to read and write better on our last day of instead practicing a type of thinking that allows us class than on our first. to examine our ideas and thoughts, we will practice what Gilles Deleuze and Félix Guattari termed “Lines of Flight,” a thinking that moves, travels, and leaps What’s The Story? A Radio while resisting binaries and reductive thinking. Journalism Class Leaping from genre to genre in our writing practice Sally Herships (poetry, nonfiction, art writing, and the essay) and Open, Seminar—Fall from genre to genre in our reading practice After a politically divisive presidential election that (philosophy, theory, art writing, poetry, and fractured the country—and with the proliferation of nonfiction), ew will attempt to make sense of the fake news—journalism is more important than ever. world in which we live while, simultaneously, And so are the skills required to do the job. The practicing different “lines of flight.” Some of the landscape of radio is exploding, and new podcasts writers and thinkers that we will be reading may are being launched almost faster than listeners can include: Lara Mimosa Montes, Paul B. Preciado, decide which episode to download next. These Dolores Dorantes, Antonin Artaud, Franz Kafka, outlets, shows, and story-making machines are Allison Benis White, , Gilles Deleuze hungry, both for stories and for producers with the and Félix Guattari, Michel Foucault, Fred Moten, skills to know how to tell them. In this class, we’ll Fernand Deligny, Avital Ronell, Sara Ahmed, Anna learn the fundamentals of making radio news, both Lowenhaupt Tsing, and Jakob von Uexküll. writing and production for short stories and long. We’ll cover editing, software, interviewing skills, and, Nonfiction orkW shop: To Tell the of course, how to hold your microphone. We’ll learn what makes a story, how to get good tape, and how Truth to write for the ear (very different than for the Suzanne Gardinier eye—just try comparing an article from The New Open, Seminar—Fall York Times with a transcript from NPR). We’ll also This class will explore the mysteries of writing what cover the skills critical for all nonfiction narrative has been called “nonfiction,” focusing particularly on storytelling, print or audio, from Morning Edition to questions around what has been called lying and This American Life. We’ll talk research, ethics, fact what has been called telling the truth. Was Toni checking, how to find sources, and how to get them Morrison right when she said our minds have an to talk. Finally, we’ll cover the art of the pitch. That’s “antipathy to fraud”? Does lying have a syntax? What industry lingo for selling your story. It’s no good are the cultural contexts, nourishments, and getting the scoop if you don’t know how to sell your manipulations that may affect what happens stuff. News is new. Come and learn something new. between a writer and a drafted or published sentence? What’s the difference between a lie that illuminates the truth and a lie that obfuscates or tries to extinguish it? Can popular writing lie? Is it possible to “tell the truth”? We will not discuss drafts of student work in class but, rather, in conference; in class, we’ll discuss readings in light of THE CURRICULUM 153 Documenting Identity: confirm the guilt) of a man or omanw convicted of a Undergraduate Nonfiction Writing controversial murder or other serious felony. Working collectively and using all of the tools and Vijay Seshadri traditions of investigative journalism, the class will Open, Seminar—Fall attempt to pull out all known and unknown threads Identity politics, which has been of serious of the story to reveal the truth. Was our subject consequence across the political spectrum recently, wrongfully accused? Or are his or her claims of has been accompanied by an explosion of identity innocence an attempt to game the system? The writing over the past 30 years. In this (largely, class will interview police, prosecutors, and though not exclusively) nonfiction writing class, ew witnesses, as well as the friends and family of the will look as deeply as we can into what identity victim and of the accused. The case file will be actually is—and what, as far as literature is examined in depth. A long-form investigative piece concerned, the rhetoric of identity is—by reading will be produced, complete with multimedia writers ranging from Whitman, Freud, Kafka, Pessoa, accompaniment. Woolf, and Baldwin to contemporaries whose subject matter comprises race, sex, disability and ability, gender dysphoria and euphoria, and existential I’m Not Making This Up: Writing exaltation or dread. Conference work will consist of Creative Nonfiction reading tailored to individuated projects; one large Timothy Kreider identity essay (the term is flexible and can Open, Seminar—Spring encompass anything from journalism of the self to Nonfiction has ot be based on real life, but nonfiction confession to critical inquiry), which will be is also supposed to make sense and mean workshopped; and a series of short exercises, some something—two things that real life consistently of which will also be discussed in class. fails to do. The fact that something really happened does not, in itself, make it interesting. How do you Forms of the Personal Essay reconcile the messy raw material of reality with the necessities of art? How do you lop off little Clifford Thompson segments of time that are shaped like stories? How Open, Seminar—Fall do you render your mundane and idiosyncratic In this course, students will read and discuss personal stories into something significant and published essays that fall into three categories: universal—something worth reading? How do you "People You Know," in which writers evoke figures make your life matter? Another touchy issue is that from their lives; "Trouble," or essays that describe of literal veracity vs. artistic truth: When does predicaments that the writers faced; and "The artistry become falsification? How do you write Personal in the Journalistic," or works that combine honestly and bravely without forfeiting all privacy? discussion of the writers' personal lives with Also, hey, won’t everyone you know get mad at you if discussions of well-known outside subjects (e.g., a you write about them? No one’s pretending that famous movie or 9/11). The writers whose published there are clear or easy answers to these questions. essays we will read include James Baldwin, Joan What we’ll do is hash them over in class as truthfully Didion, Jo Ann Beard, George Saunders, and Chitra and thoughtfully as we can. We’ll read beautiful, Banerjee Divakaruni. Students will turn in personal hilarious, and moving essays and memoirs and essays, at least 1,500 words in length, related to journalism to see how writers smarter and more each topic. In addition, each week at least two talented than we, from Montaigne to Michael Herr, students will have pieces workshopped. have managed it. We’ll labor to find strange new (Workshopped pieces do not have to fit in any of the ways of saying the same old truths. We’ll talk three categories.) Finally, each week students will euphony and rhetoric, memorize snatches of great participate in an in-class exercise. literature, and write letters to loved ones. And we will do the very least fun thing anyone can Wrongfully Accused voluntarily do—write essays ourselves. Marek Fuchs Open, Seminar—Spring Long-form investigative journalism has opened many doors, perhaps most literally in America’s penal system where journalists have regularly revealed—and freed—the wrongfully convicted. This class will set out to expose the innocence (or 154 Writing Mind as Form: The Essay, Personal course, we will tackle the various challenges of and Impersonal profile writing, such as choosing a good subject, interviewing, plotting, obtaining and telescoping Vijay Seshadri biographical information, and defining the oler of Open, Seminar—Spring place in the portrait. Students will be expected to The essay has been resorted to as a vehicle of share their own work, identify what they admire or intimacy and directness—not only by writers in despise in other writers’ characterizations, and learn other genres but also by artists of other art forms to read closely many masters of the genre: Joseph and by intellectual workers in a wide variety of Mitchell, Tom Wolfe, Daphne Merkin, Janet Malcolm. fields. Why is this? Maybe because the essay is We will also turn to shorter forms of flexible enough to adapt to the shape, structure, and writing—personal sketches, obituaries, brief movements of our minds as they actually function. reported pieces, fictional descriptions—to further We will examine the essay by reading 15 to 20 illuminate what we mean when we talk about significant examples of the genre, ranging from “identity” and “character.” The goal of this course is contemporary writers (, David Foster less to teach the art of profile writing than ot make Wallace, Nancy Mairs, and Claudia Rankine, among us all more alert to the subtleties of the form. others) to writers from recent history (Sontag, Didion, Mailer, Eiseley, Baldwin, Orwell, and Miyazaki), from its classic writers (Yeats, Pater, and Creative Nonfiction Writing Hazlitt) to its creator (Montaigne), and then to its Jo Ann Beard prehistory in the sermon, the meditation, the epistle, Advanced, Seminar—Year the spiritual autobiography (Edwards, Basho, This is a course for students who have taken a Augustine, St. Paul, and Plato). Conference work will creative writing class and are interested in exploring comprise two essays, both to be presented to the how nonfiction anc be an art form. The first whole class, and a series of exercises. semester will focus on reading and interpreting outside work—essays, articles, and journalism by Workshop in Personal Essay some of our best writers—in order to understand what good nonfiction is and how it is created. Jacob Slichter Writing will be composed mostly of exercises and Open, Seminar—Spring short pieces aimed at putting into practice what is We write personal essays to learn about ourselves, to being illuminated in the readings. We will look at face our demons, to understand what entangles us, poetry to better understand language and image and to expose the lies that we have allowed ourselves to at documentary films ot study narrative structure; believe, to recognize what we are running away and we will write in class. During the second from, to find insight, to tell the truth. This workshop semester, students will create longer, formal essays is designed for students interested in doing that to be presented in workshop. work and learning to craft what they have written so that their readers can share in their learning. We will learn to read as writers, write as readers, and, where Eco Poetry relevant, draw connections between writing and Marie Howe other creative fields such as music and film. Open, Seminar—Year In this poetry class—a yearlong school of the Earth A Question of Character: The Art of and the stars—we will consider the great organism Gaia of which we are a part. We will read the long the Profile and rich tradition of poetry addressing itself to this Alice Truax subject, from the early indigenous peoples through Open, Seminar—Spring the Zen monks and Wordsworth and right up through Any writer who tries to capture the likeness of and to utterly contemporary poets such another—whether in biography, history, journalism, as Brenda Hillman and Chase Twichell. We will or art criticism—must face certain questions. What consider the Earth and the fullness thereof. We will makes a good profile? What is the power dynamic take field trips, watch films, study trees and plants, between subject and writer? How does a subject’s and listen to birdsong. We will write a poem a week, place in the world determine the parameters of what read, meet together in poetry dates, observe, and may be written about him or her? To what extent is learn. By the end of the class, my hope is that each any portrait also a self-portrait? And how can the of us will have a greater understanding of the great complexities of a personality be captured in several organism that we call Earth and will have a thousand—or even several hundred—words? In this collection of poems that somehow sing to it and to THE CURRICULUM 155 the questions that our class raises: What is time? poem, mosaic poem, erasure, collage, comic and What is death? What is Eden? Where is the garden graphic novel, and the many formal experiments that now? Who are the other animals? What is a star? make the current environment of poetry so eclectic. What is occurring right now in the deep ocean? What Classwork will comprise student writing and does it mean that everything seems to eat critique, linguistic adventure, wild meanderings, and everything? (Again) what is death? What is time? manifestos in order to understand future Which bird is that singing right now? possibilities for one’s own poems.

Hybrids of Poetry and Prose: A A Reading, Writing, Revising, and Multigenre Creative Workshop Working-Hard Workshop Jeffrey McDaniel Kate Knapp Johnson Open, Seminar—Year Open, Seminar—Fall One of the exciting literary developments in recent We will open each class with a discussion of years is the plethora of work that refuses easy assigned texts (Composing Poetry, essays on categorization by authors such as Maggie Nelson, metaphor and craft, and a variety of poems by Claudia Rankine, Jenny Offill, and Eula Biss. Our others, past and present); however, the focus of the syllabus will be composed of texts that blur the lines class will be on workshopping your poems. Mistake- of genre. We will consider architecture, diction, making, risking everything, the logic of illogic, the association, metaphor, and other issues of craft. slapping-fresh image, angst, and faith are required. Students will be required to write critical responses Equally required: attendance in class and conference to the reading and bring in a new piece of writing and a poem a week with sufficientopies c for all. Our each week. For workshop, students can submit job, in every workshop, is to try to see the intent of poetry, fiction, creative nonfiction, or anything in our peers’ poems and to make suggestions, open between. We will aim to locate a piece’s heat—its possibilities, and craft choices that the poet may not linguistic, figurative, and musical energy—and have considered. This is a compassionate but careful consider how that energy might be developed, or work; and within this work, we will find ourselves maximized, in subsequent drafts and to what effect. learning, consciously or not, much about our own Half of each class will be devoted to discussing the aesthetics: a gleaning of how we might affirm weekly reading; the other half will be spent something of our own, what we never knew we discussing student work. Occasionally, we will do in- knew; a fine definition of poetry, what we never class writing exercises that emphasize intuition and knew we knew; and how to evoke this unthought chance and steer students toward a place of known in our work, in our readers. In conference, we hybridity. In the spring semester, students will work will focus on what you most need. Accordingly, I’ll on hybrid projects of their own. A background in assign poets and books to read. Some will strike the creative writing is not essential to taking this class; mark; others, less so. Keep a book log of why/how. In a willingness to read and write and take creative conference, we can also discuss your individual risks is. writing “blocks” and concerns about your writing process and revisions. At semester’s end, a chapbook Hybrid Beast of your poems, revised and sequenced, and a responsive journal to your readings (likes, dislikes, Tina Chang influence) will be due. Open, Seminar—Fall The word hybrid comes from the Latin hybrida, which means mongrel, a creature of mixed breed, and that Masks, Personas, and The Literal I: definition is ellw worth exploring. The tradition of A Poetry Workshop poetry is widening, drawing from many art forms, Jeffrey McDaniel blending and fusing to create contemporary, cross- Open, Seminar—Fall pollinated forms. In this class, we will explore the In this writing workshop, we will read books by poets many ways in which poetry is increasingly a hybrid who utilize masks and personas to explore depths of beast, as innovative and exciting projects are honesty, thought, and feeling that might otherwise envisioned across the genres. We will discuss the be off limits. eW will consider the different ways in process by which poets collaborate with visual which a character may be created and inhabited via artists, filmmakers, choreographers, and dramatists; syntax, diction, emotional crescendos and deflations, and we will practice the poem-as-essay, poem-as- associative leaps, metaphors, and tonal shifts. We tweet, dramatic monologue, prose poem, ekphrastic will also read books by poets who collapse the space 156 Writing between poetic speaker and author, employing a Awake and Dreaming more literal I. We will strive to come to a richer Kate Knapp Johnson understanding of the possibilities of the first person. Open, Seminar—Spring Students will be asked to create their own mask, a A dream is very like a poem, always after the logic of constructed first person ot breathe and speak illogic; but a poem is a dream carried into the world. through, and also to write poems in the mind/throat/ This is to be a poetry workshop, with the focus on heart of a more literal I. The reading class will be your poems; and all sorts of mistake-making, risk- roughly a book of poetry a week, including John taking, angst, and discoveries are required. At the Berryman’s Henry, Zbigniew Herbert’s Mr. Cogito, and same time, we will begin each class with discussion the expansive I in Whitman’s Song of Myself. There and questions about previously assigned readings: will be a number of short response essays to the How Poets Work With Dreams, Night Errands, Freud reading. Students will be expected to write and on Daydreams, The Practice of Automatic Writing, rewrite with passion and vigor, turning in a new first Surrealism, and a variety of poems as dreams or draft each week and a final manuscript of 6-10 vice-versa. No, this is not a seminar on dream poems. Class time will be split evenly between interpretation! No! Perhaps more importantly, we discussing outside reading and student work. This will together consider our work in the light and class will be good for both workshop veterans and shadow of the relationship between the unconscious those who have been harboring an urge to give and the conscious mind, always working as poets poetry a try. towards an impossible balance: wildness and clarity; the “structure” of freedom; “no discovery, no poem”; Poetry Workshop what a difficultork w , what serious play. If facts are Marie Howe no longer the truth, poems attempt to be truthful but Open, Seminar—Spring are not necessarily factual. Dreams may be difficult This is a reading/writing course. We will spend time to understand, but dreams don’t lie. Artistic growth every week reading poems that have already been (including prosody, reading, revising) is, as Cather published to see how they were made: music, syntax, said, always an approach toward truth-telling. How line, sound, and image. We might spend time can we write while standing in such ambivalence? generating new work in class through exercises and Because ambiguity and the play of dark and light is experiments. And we will spend time looking closely all the material that poets have. Required: at one another’s work, encouraging each other to attendance in class and conference; your questions take risks and to move even closer to the sources of about readings and, especially, your thoughts about our poems. Each writer in the class will meet with poems being workshopped; i.e., compassionate and another class member once a week on a “poetry clear responses to the work of others; and your date.” Each writer will be responsible for reading the poems weekly, with copies for all. A chapbook of assigned work and for bringing to class one written your work, revised and sequenced, and your offering each week. We will work hard, learn a great continuing book log (journal) of reading and reaction deal about poetry and about our own poems, and is due before the semester’s end. have a wonderful time. Another course offered in a related discipline this year is listed below. A full description of the course may be found under the appropriate discipline. Intermediate Italian: Modern Prose (p. 61), Tristana Rorandelli Italian FACULTY 157

the social nature of political behavior. Conducted FACULTY fieldwork throughout Europe and North America. Authored three books and numerous peer-reviewed Each year, Sarah Lawrence invites distinguished and popular press works. Two substantial projects scholars and artists to teach at the College on a are presently in progress: a comparative historical guest basis. In 2017-2018, approximately 18 percent study to understand political participation in of our faculty are teaching on a guest basis. Western democracies and understanding the political culture on college and university campuses. Colin D. Abernethy Chemistry SLC, 2010– BSc (Hons), Durham University, England. PhD, The University of New Brunswick, Canada. Current Ernest H. Abuba Theatre research interests include the synthesis of new early Recipient of an , five New York State transition-metal nitride compounds and the Council on the Arts fellowships for playwriting and development of practical exercises for directing, a Rockefeller Foundation fellowship, undergraduate chemistry teaching laboratories. Creative Artist Public Service Award (CAPS), Best Author of publications in the fields of inorganic and Actor Focus Press Award, Society of Stage Directors physical chemistry, as well as chemical education. and Choreographers (SSDC) member. Broadway: Recipient of research grants from The Royal Society, , Shimada, Loose Ends, The King and Nuffieldoundation, F Research Corporation for the I, Zoya’s Apartment, director Boris Morozov, Maly Advancement of Science, and American Chemical Theatre. Regional/off-Broadway roles: King Lear, Society. Received postdoctoral research fellowships Macbeth, Oberon, King Arthur, Autolycus, Chebutykin, at the University of Texas at Austin and at Cardiff James Tyrone, Lysander, Mishima; Caucasian Chalk University, Wales. Previously taught at: Strathclyde Circle, director Fritz Bennewitz, Berlin Ensemble. University, Scotland; Western Kentucky University; Author of Kwatz! The Tibetan Project, Leir Rex, The and Keene State College, New Hampshire. SLC, 2010– Dowager Empress of China, An American Story, Eat a Bowl of Tea, Night Stalker, and the opera Cambodia Julie Abraham Lesbian, Gay, Bisexual, and Agonistes, all produced off-Broadway; national tours Transgender Studies (on leave spring semester) to the Cairo Experimental Theatre and Johannesburg, BA (Hons.), University of Adelaide, Australia. MA, South Africa. Performed Butoh with Shigeko Suga in MPhil, PhD, . Special interest in Spleen, Accade Domani by Dario Fo, and Sotoba lesbian/gay/queer studies, 20th-century British and Komachi. Film/TV: 12 Monkeys (director Terry American literature, contemporary feminisms, and Gilliam), King of New York, Call Me, New York literatures of the city; author of Are Girls Necessary?: Undercover, Kung Fu. Director/ screenwriter: Mariana Lesbian Writing and Modern Histories, Metropolitan Bracetti, Arthur A. Schomburg, Asian American Lovers: The Homosexuality of Cities, and numerous Railroad Strike, Iroquois Confederacy, Lilac Chen- essays; editor of Diana: A Strange Autobiography; Asian American Suffragette, and Osceola (PBS/CBS). contributor to The Nation and The Women’s Review of Voice of His Holiness the Dalai Lama on the Books. SLC, 2000– audiobook The Art of Happiness. SLC, 1995–

Samuel Abrams Politics Cameron C. Afzal Religion AB, . AM, PhD, . BA, . MA, McGill University. MDiv, Yale Research fellow at Stanford University's Hoover University. PhD, Columbia University. Active member Institution on War, Revolution, and Peace; faculty of the Society of Biblical Literature and the American fellow at Center for Advanced Social Academy of Religion, as well as the Catholic Biblical Science Research at NYU; and member of the Council Association; has written on the Apocalypse of John on Foreign Relations. A graduate of Harvard and has taught broadly in the fields of New University’s Kennedy School of Government Program Testament and Early Christianity, Judaism in the on Inequality and Social Policy and affiliate of Second Temple Period, the Hebrew Bible, and Late Harvard's Canada Program and Institute for Antique Christian Mysticism. SLC, 1992– Quantitative Social Science. Main topics of research include social policy, inequality, international Kirsten Agresta Music political economy, and comparative and Harp American politics; special interest in network analysis, the media, Congress, political behavior, Glenn Alexander Music (Guitar) urban studies and cities, public opinion and survey BA, Witchita State University. Acclaimed jazz, rock, research, political communication and elections, and blues guitarist, composer, and vocalist. Performs internationally with the world’s finest musicians and 158 Faculty entertainers. Recorded CDs, , TV, and Emily Katz Anhalt Classics, Greek, Latin, Literature commercials. Served as jazz professor at Witchita (on leave yearlong) State University and taught at . Band AB, . PhD, . Primary leader, Shadowland. SLC, 2017– interests are Greek epic and lyric poetry, Greek historiography, Greek tragedy, and Greek and Roman Andrew Algire Music (African percussion) sexuality. Publications include Solon the Singer: University of Wisconsin. Currently, musical director Politics and Poetics (Lanham, MD, 1993), as well as of the New York-based Feraba African Rhythm Tap; several articles on the poetics of metaphor in Homer works with a number of groups, including The and on narrative techniques in Herodotus. SLC, 2004– Mandingo Ambassadors, Kakande, The Afro-yorkers, Saida Fikri, and others. Performs locally and Neil Arditi The Esther Raushenbush internationally with several African recording artists, Chair—Literature including Sekouba Bambino and Oumou Dioubate. BA, Yale University. MA, PhD, . Traveled to Europe, Cuba, Guinea, and Mali to study Special interest in British Romantic poetry, Romantic and perform; received composition grants from legacies in modern and contemporary poetry, and various New York arts foundations. Residencies the history of criticism and theory. Essays published throughout New York and New England. SLC, 2017– in Raritan, Parnassus, Keats-Shelley Journal, Philosophy and Literature, and Jewish-American Abraham Anderson Philosophy Dramatists and Poets. SLC, 2001– AB, . PhD, Columbia University. Fellowships at École Normale Supérieure and the Damani Baker Filmmaking and Moving Image Arts University of Munich. Interests in philosophy and BA, Sarah Lawrence College. BA, MFA, University of history of science, history of modern philosophy, and California-Los Angeles, School of Film and Television. the Enlightenment. Author of The Treatise of the Selected by Filmmaker Magazine as one of “25 new Three Impostors and the Problem of Enlightenment, faces in ,” his career spans as well as articles on Kant, Descartes, and other documentaries, music videos, museum installations, topics. Contributor to the new Kant-Lexikon. Has and advertisements. Documentaries include The taught at the Collège International de Philosophie, House on Coco Road, which revisits the events and St. John’s College, Instituto de Investigaciones circumstances of the 1983 US invasion of Grenada, Filosóficas, and elsewhere. SLC, 2007– and Return, an award-winning film that xplore es the genius of traditional African medicine. Directed Chris Anderson Music (Trumpet) music videos for Maiysha’s single, “Wanna Be,” BM, Manhattan School of Music. Lead trumpet and which was nominated for a 2009 Grammy, and horn arranger: Southside Johnny and The Asbury Morley’s “Women of Hope,” which was inspired by Jukes, Allman Brothers Band; Beacon Theater pro-democracy activist Aung San Suu Kyi. As a Residency, 2003-2015. Co-founder, New York Horns. director, commercial clients have included Nike/ Lead trumpet: New York Rock and Soul Wieden & Kennedy and their 2006 World Cup “Play Revue, 1991-92; Hector Lavoe, 1986-88; Ray Barretto, Beautiful” campaign and IBM. Shot several viral 1981-1986. Touring: , Jon Bon Jovi, campaigns for Puma, Wired Magazine, BMW, and , Marc Anthony, Illinois Jacquet Big Band, Apple for Late Night and Weekends. His first eatf ure Little Kids Rock Gala House Band, Michael Bolton, documentary, Still Bill, on the life and music of Bill Shadowland, S'Killit. Broadway: Movin’ Out, In The Withers opened theatrically in New York, Los Heights, Swing, The Full Monty, Beehive, Bring in ‘ Angeles, and Chicago. Still Bill had its television Noise Bring in ‘da . SLC, 2017– premiere on Showtime and has been seen on outlets globally, including BBC. In 2010, he shot Music for William Anderson Music (Guitar) Andrew Zuckerman, a series of interviews with 50 BA, SUNY-Purchase. Performed at Tanglewood prominent musicians, and directed two more videos Festival and with the Metropolitan Opera Chamber in Morocco for Morley. Current projects include more Players, Chamber Music Society of Lincoln Center, than 10 films orf museums in Nigeria and in and New York Philharmonic. Guest on WNYC Leonard Chattanooga, Tennessee, for Ralph Appelbaum Lopate Show. Featured on NPR's All Things Associates, Inc. These films include interviews with Considered, where excerpts of his composition were President , Dr. Kofi Annan, and President broadcast throughout the United States. His Djuna Ellen Johnson Sirleaf. In addition, he is the director of Barnes settings were orchestrated and performed by the Quest forGlobal Healing Film Series in Bali, the Riverside Symphony in 2015. Founder of Cygnus Indonesia, and media collaborator with the Ensemble. SLC, 2017– FACULTY 159

International Budget Partnership, tracking Arts and director of the Woodwind Program at government transparency through budgets around Bowdoin International Music Festivall also teaches the world. SLC, 2003– at Brooklyn College and Lehman College. SLC, 2017–

Jen Baker Music (Trombone) Chester Biscardi Director, Program in Music—Music BM, Oberlin Conservatory. MFA, . (on leave spring semester) Trombonist/composer. Awards: ASCAP Plus Award, BA, MA, MM, University of Wisconsin. MMA, DMA, Yale 2012, 2013; Meet the Composer award, 2012. Member, University. Composer. Recipient: Rome Prize from International Alliance of Women Musicians, American Academy in Rome, Academy Award in International Society of Improvised Music, and Music and Scholarship from American International Trombone Association. Author: Hooked Academy and Institute of Arts and Letters, and Aaron on Multiphonics. (July 2016). Collaborates with Copland Award; fellowships from Bogliasco artists throughout the world in site-specific, mixed- Foundation, Djerassi Foundation, Guggenheim media performances, concert halls, solo and Foundation, Japan Foundation, MacDowell Colony, chamber commissions. Featured on the soundtrack and Rockefeller Foundation (Bellagio), as well as to Werner Herzog's Oscar-nominated Encounters at grants from Fromm Music Foundation at Harvard, the End of the World. Toured with Arijit Singh, Karole Koussevitzky Music Foundation in the Library of Armitage, Mansour, new music ensembles S.E.M. and Congress, Martha Baird Rockefeller Foundation, Meet TILT brass, and the mobile ensemble Asphalt the Composer, National Endowment for the Arts, and Orchestra (founding member). SLC, 2017– New York Foundation for the Arts, among others. Music published by C. F. Peters, Merion Music, Inc. of Ashley Bales Biology Theodore Presser Company, and Biscardi Music Press. Recordings appear on the Albany, American Modern Carl Barenboim Psychology Recordings, Bridge, CRI (New World Records), Furious BA, . PhD, . Artisans, Intim Musik (Sweden), Naxos, New Albion, Special interest in the child’s developing ability to New Ariel, North/South Recordings, and Sept Jardins reason about the social world, as well as the relation (Canada) labels. Yamaha Artist. SLC, 1977– between children’s social thinking and social behavior; articles and chapters on children’s Lucas Blalock Visual and Studio Arts perspective-taking, person perception, interpersonal BA, Bard College. Skowhegan School of Painting and problem solving, and the ability to infer carelessness Sculpture. MFA, UCLA. Exhibited at the Hammer in others; past member, Board of Consulting Editors, Museum, Center for Creative Photography, Developmental Psychology; principal investigator, Museum of Art, Contemporary Arts Museum Houston, grant from the National Institute of Child Health and Marian Goodman Gallery, Hauser and Wirth, and Human Development. SLC, 1988– MoMA PS1. Solo exhibitions: Ramiken Crucible (New York), Rodolphe Janssen (Brussels), White Cube Jo Ann Beard Writing (London), Peder Lund (), and White Flag Projects BFA, MA, University of Iowa. Essayist and creative (St. Louis). Work featured in numerous publications, nonfiction writer; author of In Zanesville, a novel, and including Art in America, , The The Boys of My Youth, a collection of New Yorker, Frieze, W, Mousse, Monopol, and autobiographical essays, as well as essays/articles Aperture, among others. Artist books: SPBH VII (2014), published in magazines, journals, and anthologies. Inside the White Cub (2014), WINDOWS MIRRORS Recipient of a Whiting Writers’ Award and a TABLETOPS (2013), Towards a Warm Math (2011), and Guggenheim Fellowship. SLC, 2000–2005, 2007– I Believe You, Liar (2009). Published writing about art Igor Begelman Music (Clarinet) and photography includes a growing body of essays, BM, Manhattan School of Music. MM, The Juilliard experimental writings, and interviews, including School. Artist Diploma, The . Recipient conversations with Zoe Crosher (Aperture 2012), Jeff of an Avery Fisher Career Grant, soloist with major Wall (Aperture 2013), and Torbjorn Rodland (Mousse orchestras in the United States and abroad, including 2014), as well as a recent essay rethinking the Houston Symphony, L’Orchestre de la Suisse camera as a drawing tool (Foam 2014). SLC, 2015– Romande, Orchestra of St. Luke’s, and I Musici de Tei Blow Theatre Montreal, among many others. Appeared at Caramoor, Ravinia, Marlboro, Tanglewood, and Patti Bradshaw Dance Schleswig-Holstein festivals. Provides regular master BM, University of Massachusetts. Certified ogay classes throughout the United States. Formerly a union instructor and Kinetic Awareness instructor. professor of clarinet at North Carolina School of the Taught at The New School, and Fundação Calouste 160 Faculty Gulbenkian; workshops at New York University, The Monte Verità in Ascona, Switzerland (2000); the Kitchen, hospitals, and various schools and studios in Swiss Contemporary Dance Days, Lausanne (2002); New York and Greece. Dancer, choreographer, and the Amman Contemporary Dance Festival, Jordan; maker of puppet theatre. Work shown at St Ann’s and The Season in Beirut, Lebanon (2004). Warehouse in 2005 and 2006. SLC, 2000– Choreographed and performed at the Whitney Museum in Berlin Sun Theater with anthropologist Bella Brodzki Literature Michael Taussig (2013) and at the Museum of the BA, Sarah Lawrence College. MA, Hebrew University. City of New York (2014). Currently collaborates with PhD, . Special interests in critical Jodi Melnick and Yanira Castro. Has taught at and cultural theory, gender studies, postcolonial , Pratt University, Joffrey Ballet studies, translation studies, autobiography and life School, Zurich Dance Theatre School, and Tanzhaus narrative, and modernist and contemporary fiction. Zurich. US-UK Fulbright Fellow in Dance in London, Selected scholarly publications include essays in United Kingdom (2013-14). Presentations at Columbia PMLA, MLN, Yale French Studies, Studies in Twentieth- University; University of Ghent, Belgium; University of Century Fiction, Yale Journal of Criticism, Modern Groningen, Holland; Video Art Festival, Camaguey, Fiction Studies, Profils Américains, and in collections Cuba; and Center for Ballet and the Arts, New York such as Borderwork: Feminist Engagements with University (2014-16). Current research focuses on Comparative Literature; Women, Autobiography, and dance philosophy and intermediality in works of Fiction: A Reader; Critical Cosmos: Latin American artists such as Yvonne Rainer, Richard Serra, Michael Approaches to Fiction; Feminism and Institutions: A Clark, and Charles Atlas. SLC, 2016– Dialogue on Feminist Theory; and MLA Approaches to Teaching Representations of the Holocaust. Author of Melvin Jules Bukiet Writing Can These Bones Live?: Translation, Survival, and BA, Sarah Lawrence College. MFA, Columbia Cultural Memory; co-editor of Life/Lines: Theorizing University. Author of Sandman’s Dust, Stories of an Women’s Autobiography. Recipient of National Imaginary Childhood, While the Messiah Tarries, After, Endowment for the Humanities fellowships, Lucius Signs and Wonders, Strange Fire, and A Faker’s Dozen; Littauer Award, and Hewlett-Mellon grants. Visiting editor of Neurotica, Nothing Makes You Free, and professor at Université de Montpellier-Paul Valéry Scribblers on the Roof. Works have been translated and Université de Versailles-St. Quentin. SLC, 1984– into a half-dozen languages and frequently anthologized; winner of the Edward Lewis Wallant Adam Brown Sara Yates Exley Chair in Teaching Award and other prizes; stories published in Antaeus, Excellence —Psychology , and other magazines; essays BA, University of Oregon. MA, PhD, New School for published in The New York Times, Washington Post, Social Research. Postdoctoral Fellow, Weill Medical Los Angeles Times, and other newspapers. SLC, 1993– College of . Director of the Sarah Lawrence College Cognition and Emotion Laboratory. Gary Burnley Visual and Studio Arts Clinical psychologist with special interests in BFA, Washington University. MFA, Yale University. Solo clinical, cognitive, and neuroscientific approaches to and group exhibitions in the United States and memory and emotion, post-traumatic stress disorder Europe; works included in major private, corporate, (PTSD), resilience, social influences on memory, the and museum collections; awards and fellowships construction of autobiographical memory and self- include the Federal Design Achievement Award, identity, and international mental health. Recipient National Endowment for the Arts, New York State of grants from the National Institutes of Health, US Council, and CAPS; public commissions include the Department of Defense, Fulbright, and private MTA and St. Louis Bi-State Development. SLC, 1980– foundations. Adjunct assistant professor, New York University School of Medicine. SLC, 2009– Marvin Campbell Literature

Tricia Brown Project Dance Lorayne Carbon Director, Early Childhood Center—Psychology Kyle Bukhari Dance BA, State University of New York-Buffalo. MSEd, Bank BA, Columbia University. MA, University of Street College of Education. Special areas of interest Roehampton, London. Danced with the Joffrey Ballet include social justice issues in the early childhood in New York and the Zurich Ballet in Switzerland. classroom and creating aesthetic learning Winner: Best German Dance Solo (1998). Created environments for young children. Former early choreographies for the Augsburg City Theatre; childhood teacher and director at Oak Lane Child Saarland State Theatre in Saarbrucken; the Care Center, Chappaqua, New York, and education Tanzfabrik Berlin in Germany; the Centennial of coordinator of the Virginia Marx Children’s Center of FACULTY 161

Westchester Community College. Adjunct professor, from the Academy of American Poets, the Barbara Westchester Community College; workshop leader at Deming Memorial Fund, The Ludwig Vogelstein seminars and conferences on early childhood Foundation, The New York Foundation for the Arts, education. SLC, 2003– Poets & Writers, and The Van Lier Foundation, among others. SLC, 2005– David Castriota Mary Griggs Burke Chair in Art & Art History—Art History (on leave spring semester) Persis Charles History BA, New York University. MA, MPhil, PhD, Columbia BA, . MA, Brown University. PhD, University. Special interests in Greek art of the . Special interest in modern social classical and Hellenistic periods, Roman art of the and women’s history, with particular emphasis on late republic and early empire, and the art of British and French history. SLC, 1977– prehistoric Europe; author of Myth, Ethos, and Actuality: Official Art in Fifth-Century B.C. Athens, The Priscilla Chen Spanish Ara Pacis Augustae and the Imagery of Abundance in BA, State University of New York-Stony Brook. MA, Later Greek and Early Roman Imperial Art, and a Queens College. Currently completing a doctorate in critical commentary on Alois Riegl’s Problems of Spanish literature at the Graduate Center of the City Style: Foundations for a History of Ornament; editor University of New York. Special interests include of Artistic Strategy and the Rhetoric of Power: Golden Age peninsular literature, Latin American Political Uses of Art from Antiquity to the Present; literature and culture in general, and fiction. SLC, recipient of fellowships from the Dumbarton Oaks 2004– Center for Early Christian and Byzantine Art and the Society of Fellows of Columbia University and of Eileen Ka-May Cheng History grants from the National Endowment for the BA, Harvard University. MA, MPhil, PhD, Yale Humanities and the American Philosophical Society. University. Special interest in early American history, SLC, 1992– with an emphasis on the American Revolution and the early American republic, European and American William Catanzaro Dance intellectual history, and historiography. Author of Composer and multi-instrumentalist; recognition The Plain and Noble Garb of Truth: Nationalism and and funding from NEA, The Samuel S. Fels Fund, New Impartiality in American Historical Writing, York State Council on the Arts, Harkness Foundation, 1784-1860; author of articles and book reviews for NYU Humanities Council, NYU Service/Learning Fund; History and Theory, Journal of American History, commissions include choreographers Anna Sokolow, Reviews in American History, and Journal of the Early Steve Paxton, Viola Farber, Milton Myers; work Republic. SLC, 1999– presented nationally and internationally with the John (Song Pae) Cho Lesbian, Gay, Bisexual, and New Danish Dance Theatre, TanzFabrik Berlin, Amsterdam Theatreschool, Cyprus Festival, Teatro Transgender Studies San Martin, The Alvin Ailey School, Philadanco, BA, Carleton University. MA, Yonsei University, Seoul. Player’s Project, Dallas Black Theatre, Jacob’s Pillow, PhD, University of Illinois at Urbana-Champaign. DTW, and others. Former accompanist and teacher of Special interests in transnational LGBT studies, music for dancers at The Juilliard School, Marymount Korean/East Asian studies, neoliberalism, and the , José Limón School, Martha Internet. Recipient of postdoctoral fellowships from Graham School, New York University. Current faculty the Korea Foundation and the Social Science at The Alvin Ailey School and Steps on Broadway; Research Council for Transregional Research, both music director for the Young Dancemakers Company. held at University of California-Berkeley and the SLC, 2003– Korea Institute at Harvard University. SLC, 2015–

Rosane Chamecki Dance Kim Christensen Economics BA, . PhD, University of Tina Chang Writing Massachusetts-Amherst. Taught economics and MFA, Columbia University. Poet, Brooklyn poet women’s/gender studies (1985-2010) at SUNY- laureate, and author of Half-Lit Houses and Of Gods & Purchase, where she received several awards for her Strangers; co-editor of the anthology Language for a teaching: four-time recipient of the Students’ Union New Century: Contemporary Poetry From the Middle Award for Outstanding Teaching in the Letters and East, Asia, and Beyond (W.W. Norton, 2008). Poems Sciences; the first ecipientr of the President’s Award have appeared in American Poet, McSweeney’s, The for Innovative Pedagogy; and, in 1992, recipient of New York Times, Ploughshares, Quarterly West, and the statewide SUNY Chancellor’s Award for Sonora Review, among others. Recipient of awards Distinguished College Teaching. Taught economics, 162 Faculty labor history, and public policy as a guest faculty artistic director, Sarah Lawrence theatre program member at Sarah Lawrence College. Research (1994-2008); executive producer, Ensemble Studio focuses on the intersection of economics with public Theatre, New York (1992-94); associate artistic policy issues, with a particular emphasis on issues of director, Elysium Theatre Company, New York race, gender, class, and labor; e.g., the experiences of (1990-92); manager, development/marketing low-income women in the AIDS crisis, the politics of departments of Circle Repertory Company, New York. welfare “reform,” the “gendered” nature of the Recipient of two grants from the Alfred P. Sloan recent recession, and the impact of our campaign Foundation; OBIE Award, Outstanding Achievement finance system on public policy. SLC, 2008— Off and Off-Off Broadway (producer, E.S.T. Marathon of One-Act Plays); nomination, , Una Chung Literature Outstanding Revival of a Play (acting company); BA, University of California-Berkeley. MA, San director, first (original) productions of 13 published Francisco State University. PhD, Graduate Center of plays. SLC, 1994– the City University of New York. Special interests in Asian American literature and film, late 20th-century Lacina Coulibaly Dance transnational East and Southeast Asian cultural Raised in Ouagadougou, Burkina Faso. Trained in studies, East Asian film, postcolonial theory, ethnic West African dance and European contemporary studies, globalization, affect, new media. SLC, 2007– dance, dancing with the Ballet National du Burkina Faso, Compagnie Salia Nï Seydou, and Irène Heather Cleary Spanish Tassambedo before co-founding Kongo Ba Teria with BA, MA, New York University. PhD, Columbia Souleymane Badolo. Reshaping traditional values to University. Special interests include contemporary speak to present-day concerns, Kongo BaTeria is a Latin American culture, the theory and practice of leading promoter of contemporary dance in West translation, and creative production in the digital Africa. From 1996-2000, Compagnie Kongo Ba Téria age. Essays published in Hispanic Review and Mutatis performed on many African stages in countries such Mutandis; translations published by New Directions as Senegal, Ivory Coast, Benin, and Cameroon. Since (Poems to Read on a Streetcar by Oliverio Girondo) 2000, the company has toured throughout Europe, and Open Letter Books (The Dark and The Planets by including France, Italy, Denmark, Spain, Belgium, and Sergio Chejfec). SLC 2015– Germany. Coulibaly and Badolo’s creations have won international awards, including the Pan-African Shamus Clisset Visual and Studio Arts competition SANGA. Recent work includes a solo BFA, The College of Santa Fe, . Digital presented at Cornell, New York University, and artist and master printer working with 3D modeling, Stonybrook University, among other venues, and rendering, and multidisciplinary digital media. guest appearances with the internationally known Exhibitions include Galerie Jette Rudolph and Galerie Faso Dance Theatre. Featured artist in the Thomas Flor, both in Berlin, and Tracy Williams, Ltd. documentary, Movement (R)evolution Africa, which in New York. Recent projects include Empties at documents the emergent experimental African Caesura Gallery (Caesura.cc) and FakeShamus: dance scene. Recent work includes an ongoing, Manifest Destinaut, featured in BEAUTIFUL/DECAY multisite research collaboration with Emily Coates, Book 8: Strange Daze. As a master printer, he has leading to the creation of a work-in-progress duet produced exhibition prints for galleries and titled, Ici Ou Ailleurs. Taught at the University of museums all over the world, including MoMA, The Florida, Brown University, and Yale University. SLC Guggenheim, The Metropolitan Museum of Art, and 2016- SFMoMA. Recent highlights include prints for the Maurizio Cattelan retrospective at The Guggenheim Michael Cramer Film History and the first solo show of photographs by the late BA, Columbia University. MA, MPhil, PhD, Yale war photographer, Tim Hetherington, at Yossi Milo in University. Author of several articles on European New York. SLC, 2012– cinema and television and the book Utopian Television: Roberto Rossellini, Peter Watkins, and Kevin Confoy Theatre Jean-Luc Godard Beyond Cinema (University of BA, Rutgers College. Certificate, London Academy of Minnesota Press, 2017). Special interests in film and Music and Dramatic Art (LAMDA). Graduate, The media theory, European cinema of the 1960s and Conservatory at the Classic Stage Company (CSC), ’70s, contemporary world cinema, the relationship of Theatre School Directing cinema and television, documentary and nonfiction Program. Actor, director, and producer of Off cinema, and the politics of aesthetics. SLC, 2015– Broadway and regional productions; resident director, Forestburgh Playhouse; producer/producing FACULTY 163

Jay Craven Filmmaking and Moving Image Arts of fellowships from Yaddo, the MacDowell Colony, MA Goddard College. Writer/director/producer: High and a Hodder Fellowship at . Water (w/Greg Germann, Jane MacFie); Where the Work published in Isn’t it Romantic: 100 Love Poems Rivers Flow North (w/Rip Torn, Tantoo , by Younger American Poets (Wave Books, 2004) and Michael J. Fox); A Stranger in the Kingdom (w/ Ernie The Iowa Anthology of New American Poetries (The Hudson, Martin Sheen, David Lansbury); In Jest (w/ University of Iowa Press, 2004). SLC 2008– Bill Raymond, Tantoo Cardinal, Rusty DeWees); Windy Acres (w/ Ariel Kiley, Bill Raymond, Seana Kofoed, Michael Davis Philosophy Rusty DeWees); Disappearances (w/ Kris BA, Cornell University. MA, PhD, Pennsylvania State Kristofferson, Gary Famer, Charlie McDermott, University. Interests in Greek philosophy, moral and Genevieve Bujold); Borders (w/ Bruce Dern, political philosophy, and philosophy and literature; Genevieve Bujold, Seamus Davey-Fitzpatrick, Jessica author of many books, most recently The Hecht); Peter and John (w/ Jacqueline Bisset, Autobiography of Philosophy, a translation of Christian Coulson, ); Wetware (w/ Aristotle’s On Poetics, and Wonderlust: Ruminations Jerry O’Connell, Cameron Scoggins, Morgan Wolk). on Liberal Education; member, editorial board, Writer/director: The Year That Trembled (w/ Ancient Philosophy; lecturer, essayist, and reviewer. Jonathan Brandis, Marin Hinkle, Fred Willard, Martin SLC, 1977– Mull). Documentaries include After the Fog, Dawn of the People, Gayleen, and Approaching the Elephant Isabel de Sena Joseph Campbell Chair in the (producer). Festivals and special screenings include: Humanities—Spanish, Literature Sundance, SXSW, AFI Fest, Vienna, Vancouver, MA, University of California–Berkeley. PhD, University Avignon, Havana, Lincoln Center, Smithsonian, of California–Santa Barbara. Published works on late Harvard Film Archives, Cinematheque Francaise, medieval and early Renaissance Peninsular Constitutional Court of Johannesburg, and literature, as well as Latin American literature Cinemateca Nacional de Venezuela. Awards and (Sarmiento, Altamirano, Manuel de Jesús Galván). recognition: Producers Guild of America NOVA Award; Among her translations: Virginia Woolf’s Between the Gotham Award nomination; two National Endowment Acts (into Portuguese) and Caetano Veloso’s Tropical for the Arts (NEA) film production grants; finalist, Truth: A Story of Music and Revolution in Brazil Critics Week, Cannes Film Festival; selection to the (Knopff, 2002). Taught at King’s College (London), Sundance Collection at UCLA; NEA’s American Princeton, and ; the first esidentr Masterpieces Program; American Film Institute’s director of the Sarah Lawrence in Cuba program initial “AFI: Project 20/20 International Cultural (2001-04). Currently at work on a bilingual edition of Exchange.” Founding director and producer of the short tales from the Spanish-speaking world. SLC, Movies From Marlboro film-intensive program, where 1997– 24 professionals mentor and collaborate with 32 Claudy Delne French students from a dozen colleges, including Sarah BA, MEd, Université de Montréal. JD, Université de Lawrence. SLC, 2017– Moncton. PhD, CUNY-Graduate Center. Area of Drew E. Cressman Biology specialization: 19th- to 20th-century colonial and BA, . PhD, University of postcolonial fictions. Dissertation on the Pennsylvania. Special interest in the molecular basis concealment of the Haitian Revolution in Western of gene regulation and the control of gene Imagination through fictional narratives of the 19th expression; specifically focused on the control of and 20th centuries. Research interests: francophone antigen-presenting genes of the immune system and Caribbean literature, with a particular focus on the subcellular localization of the regulatory protein narratology, representation, otherness, race. SLC, CIITA; author of papers on mammalian liver 2015– regeneration and CIITA activity; recipient of grants Robert R. Desjarlais Anthropology from the Irvington Institute for Biomedical Research BA, University of Massachusetts-Amherst. MA, PhD, and the National Science Foundation. SLC, 2000– University of California-Los Angeles. Special interests Dylan Crossman Dance in the cultural construction of experience, subjectivity and intersubjectivity, death and Cynthia Cruz Writing mourning, and the political economy of illness and BA, Mills College. MFA, Sarah Lawrence College. Poet; healing; ethnographic fieldwork in the Nepal author of Ruin (Alice James Books, 2006) and The , with the residents of a homeless shelter Glimmering Room (Four Way Books, 2012); recipient in , and among competitive chess players; author of Body and Emotion: The Aesthetics of Illness 164 Faculty and Healing in the Nepal Himalayas; Shelter Blues: Exilwerk Alfred Döblins and several essays and book Sanity and Selfhood Among the Homeless; Sensory reviews on 19th- and 20th-century German Biographies: Lives and Deaths Among Nepal’s Yolmo literature; co-editor of Unus Mundus: Kosmos and Buddhists; and Counterplay: an Anthropologist at the Sympathie, Naturphilosophie, and Philosophia Chessboard. Recipient of a Guggenheim fellowship Naturalis. SLC, 1989– and a Howard fellowship. NIMH postdoctoral research fellow at Harvard Medical School. SLC, Aurora Donzelli Anthropology (on leave yearlong) 1994– BA, MA, University of Pavia, Italy. PhD, University of Milano-Bicocca, Italy. Special interests in linguistic David Diamond Theatre anthropology, political oratory and ritual speech, vernacular practical philosophies, ethnopoetics, Carlo Diego Filmmaking and Moving Image Arts missionization, and the emergence of colonial discourse genres; ethnographic fieldwork in Mary Dillard Director, Graduate Program in Women’s Southeast Asia (upland Sulawesi and East Timor); History—History author of several articles on language and ethnicity, BA, Stanford University. MA, PhD, University of local theories of action, power and emotions, verbal California-Los Angeles. Special interests include art, and language ideologies. FCT postdoctoral history of West Africa, particularly Ghana and research fellow at Institute of Theoretical and Nigeria; history of intelligence testing and external Computational Linguistics in Lisbon, and Endangered examinations in Africa; history of science in Africa; Languages Academic Programme (SOAS) in London. and gender and education. Recipient of a Spencer SLC, 2009– fellowship and Major Cultures fellowship at Columbia University’s Society of Fellows in the Humanities. Charlotte L. Doyle Psychology SLC, 2001– BA, . MA, PhD, . A generalist in psychology with special Beth Ann Ditkoff Biology interests in the creative process, psychological BA, Yale University. MD, The Johns Hopkins School of theory, and children’s literature. Articles written on Medicine. Former surgical oncologist at New York- the creative process in art, the fiction-writing Presbyterian Hospital, Columbia University Medical episode, facilitating creativity in children, and the Center; Department of Surgery, College of Physicians definition of psychology. Books include Explorations & Surgeons, Columbia University. Author of The in Psychology (a textbook) and seven picture books Thyroid Guide (HarperCollins, 2000) and Why Don’t for children: Hello Baby, Freddie’s Spaghetti, Where’s Your Eyelashes Grow? Curious Questions Kids Ask Bunny’s Mommy?, You Can’t Catch Me, Twins!, About the Human Body (Penguin, 2008). SLC, 2010– Supermarket!, and The Bouncing Dancing Galloping Natalia Dizenko Russian ABC. SLC, 1966–

Jerrilynn Dodds Harlequin Adair Dammann Chair in Jan Drucker Director, Child Development Institute’s Islamic Studies—Art History Empowering Teachers Program—Psychology BA, Barnard College. MA, PhD, Harvard University. BA, Radcliffe College. PhD, New York University. Work has centered on issues of artistic Clinical and developmental psychologist with interchange—in particular, among Christians, Jews, teaching and research interests in the areas of and Muslims—and how groups form identities developmental and educational theory, child through art and architecture; special interest in the development, parent guidance, clinical assessment arts of Spain and the history of architecture. Author and therapy with children and adolescents, and the of Architecture and Ideology in Early Medieval Spain development of imaginative play and other symbolic and NY Masjid: The Mosques of New York and co- processes in early childhood and their impact on author of Arts of Intimacy: Christians, Jews, and later development. Professional writings have Muslims in the Making of Castilian Culture, among centered on various forms of early symbolization in other books and publications. Dean of the College, development and in clinical work with children. SLC, 2009-15. SLC, 2009– 1972–

Roland Dollinger German, Literature Scott Duce Filmmaking and Moving Image Arts BA, University of Augsburg, Germany. MA, University BFA, University of Utah. MFA, . Visual of Pittsburgh. PhD, Princeton University. Special artist with multiple awards and grants, including a interest in 20th-century German and Austrian National Endowment for the Arts artist grant. literature; author of Totalität und Totalitarismus: Das Exhibitions include solo exhibits in New York City, Chicago, Atlanta, Boston, and internationally in Paris, FACULTY 165

Barbizon, Florence, and Lima. Notable collections intellectual, and cultural history of the modern include Random House, General Electric, IBM, Middle East. Research addresses the relationship McGraw-Hill, Petroplus Holdings (Switzerland), between nationalism, territoriality, and political Seagram‘s (Montreal), and US Embassy (Stockholm). identity in Egypt and in the late Ottoman Empire. His Currently producing work for exhibitions, creating book manuscript, provisionally titled Desert hand-drawn animated shorts, and developing a Borderland: Bedouins, Territoriality, and the Making series of e-book artist catalogues. SLC, 2012– of Modern Egypt and Libya, examines the impact of various state-making projects on local experiences Glenn Dynner Religion of place and belonging in the desert region linking BA, . MA, McGill University. PhD, Egypt and Libya during the late 19th and early 20th Brandeis University. Scholar of East European Jewry, centuries. Broader intellectual and teaching with a focus on the social history of Hasidism and interests include: the politics and culture of the Haskalah (Jewish Enlightenment). Author of Men nationalism; modernity and identity formation in the of Silk: The Hasidic Conquest of Polish Jewish Society, Ottoman and post-Ottoman Arab world; cities and which received a Koret Publication Award and was a imagined urbanism; nostalgia and the politics of National Jewish Book Awards finalist. Received collective memory; popular culture; the textual training in several Israeli yeshivas and the historiography of borderlands; comparative British Hebrew University of Jerusalem. Additional interests and French empire; and the history of geography and include Polish-Jewish relations, Jewish economic cartography. Articles published in History history, and popular religion. Recipient of the Compass and The Long 1890s in Egypt: Colonial Fulbright Award. Member (2010-11), Institute for Quiescence, Subterranean Resistance (Edinburgh UP, Advanced Study, Princeton University. SLC, 2004– 2014). Dissertation research was supported by grants from the Social Science Research Council and the Jason Earle French, Literature American Research Center in Egypt. Recipient of a AB, . MA, MPhil, PhD, Columbia Fulbright-IIE grant to Egypt. Member of the . Area of specialization: 20th-century Historical Association and the Middle East Studies French literature. Dissertation on secret societies Association of North America. SLC, 2012– and conspiracies in interwar French literature. Research interests include 19th- and 20th-century Beverly Emmons Dance French literature and cultural history, literature and BA, Sarah Lawrence College. Designed lighting for politics, history and theory of the novel, and the Broadway, Off Broadway, regional theatre, dance, avant-garde. SLC, 2012– and opera in the United States and abroad. Broadway credits include Annie Get Your Gun, Jekyll & Hyde, The Michael Early Theatre Heiress, ’s Passion, and The BFA, New York University Tisch School of the Arts. Elephant Man. Her lighting of won a Tony MFA, Yale University School of Drama. Extensive award. Worked at the John F. Kennedy Center, the experience in Off Broadway and regional theatre, Guthrie, Arena Stage, and the Children’s Theatre of television, and commercials; artist-in-residence, Minneapolis. Off Broadway, she lit Vagina . SLC, 1998– Monologues; worked for Joseph Chaikin and Meredith June Ekman Theatre Monk; and for Robert Wilson, Einstein on the Beach BA, Goddard College, University of Illinois. ACAT- and The Civil Wars, Part V. Her designs for dance certified Alexander Technique Teacher, 1979. Inventor include works by Martha Graham, Trisha Brown, Alvin of an ergonomic chair, the Sit-a-Round. Taught the Ailey, and . Received seven Tony Alexander Technique in many venues: the Santa Fe nominations, the 1976 Lumen award, 1984 and 1986 Opera, Riverside Studios in London, Utrecht in The Bessies, a 1980 Obie for Distinguished Lighting, and Netherlands; dancer, Judson Dance Theatre, Alwin several Maharam/American Theatre Wing design Nikolais, Anna Halprin, and others; direction and awards. SLC, 2011– choreography Off Broadway; appeared in Innovation Anthony Esposito Biology (PBS); Off-Off Broadway Review Award, 1995-1996. SLC, 1987– Emily Fairey Classics, Greek, Latin

Matthew Ellis Christian A. Johnson Endeavor Margarita Fajardo Alice Stone Ilchman Chair in Foundation Chair in Middle Eastern Studies and Comparative and International Studies International Affairs—History —History (on leave yearlong) BA, . MPhil, . MA, BA, Universidad de los Andes, Bogotá, Colombia. MA, PhD, Princeton University. Specializes in the social, PhD, Princeton University. Research and teaching 166 Faculty interests include history of Latin America, Angela Ferraiolo Visual and Studio Arts particularly Brazil, Chile, and Colombia; history of BLS, SUNY–Purchase. MFA, CUNY Hunter College. MFA, capitalism and development; intellectual history and Brown University. Professional work includes RKO, history of expertise and the social sciences; and, H20 Studios, Westwood Studios, Electronic Arts, especially, economics, sociology, and political Hansen Literary. Solo and group screenings in the science. Her dissertation, “The Latin American United States and Europe, including SIGGRAPH (Los Development Experience: Social Sciences, Economic Angeles), ISEA (Hong Kong), New York Film Festival, Policies, and the Making of a Global Order, 1944-1971,” Courtisane Festival (Ghent), Collectif Jeune Cinéma currently under revision for future publication, (Paris), Copacabana Media Festival (Ghent), traces the policy and intellectual endeavors of a Australian Experimental Film Festival (Melbourne), network of social scientists whose nexus was the International Conference of Generative Art (Rome), United Nations Economic Commission for Latin Digital Fringe (Melbourne), Die Gesellschafter America (ECLA in English and CEPAL in Spanish and Filmwettbewerb (Germany), Granoff entC er for the Portuguese). It shows how, by squaring economic Arts (Providence), Microscope Gallery (Bushwick), development with the key monetary problems of the Nouspace Gallery (Vancouver), D-Art Gallery postwar order, these social scientists carved out an (London), International Conference on Information idea of Latin America. Using economic tools and Visualization (Montpellier), International Conference global networks and institutions, they created a view of Computer Graphics, Imaging and Visualization of the world in Latin America and a view of Latin (), and TechFest (Mumbai). Interests include America in the world. SLC, 2015– interaction design, narrative, immersive environment, playability, mobile art, experimental Christine Farrell Director, Program in video, generative art, installation, media Theatre—Theatre architecture, and new media urbanism. SLC, 2010– BA, Marquette University. MFA, Columbia University. One-Year Study Abroad, Oxford, England. Actress, Carolyn Ferrell Writing playwright, director. Appeared for nine seasons as BA, Sarah Lawrence College. MA, City College of New Pam Shrier, the ballistics detective on Law and Order. York. Author of the short-story collection, Don’t Erase Acting credits on TV include Saturday Night Live and Me, awarded the Art Seidenbaum Award of the Los One Life to Live; films, Ice Storm, Fatal ; Angeles Times Book Prize, the John C. Zachiris Award stage: Comedy of Errors, Uncle Vanya, Catholic School given by Ploughshares, and the Quality Paperback Girls, Division Street, The Dining Room. Two published Book Prize for First Fiction; stories anthologized in plays: Mama Drama and The Once Attractive Woman. The Best American Short Stories of the Century; Giant Directed in colleges, as well as Off Broadway, and Steps: The New Generation of African American was the artistic director and co-founder of the New Writers; The Blue Light Corner: Black Women Writing York Team for TheatreSports. Performed in comedy on Passion, Sex, and Romantic Love; and Children of improvisation throughout the world. SLC, 1991– the Night: The Best Short Stories by Black Writers, 1967 to the Present. Recipient of grants from the Kim Ferguson (Kim Johnson) Roy E. Larsen Chair in Fulbright Association, the German Academic Psychology—Psychology Exchange (D.A.A.D.), the City University of New York BA, . MA, PhD, Cornell University. Special MAGNET Program, and the National Endowment for interests include cultural-ecological approaches to the Arts (literature fellow for 2004). SLC, 1996– infant and child development, children at risk (children in poverty, HIV/AIDS orphans, children in Barbara Forbes Dance foster care and institutionalized care), health and Royal Academy of Dancing, London. Institute of cognitive development, and development in African Choreology, London. Imperial Society of Teachers of contexts. Areas of academic specialization include Dancing, London: Cecchetti Method. Previously on infant categorization development and the faculty of National Ballet School of Canada, Alvin influences of the task, the stimuli used, and infants’ Ailey School, New York University, and Finis Jhung culture, language, and socioeconomic status on their Studio. Ballet mistress and teacher: Joffrey Ballet, performance; infant face processing in African and New Orleans Ballet, and Chamber Ballet USA. American contexts; and relationships between the Currently Feldenkrais practitioner at Feldenkrais quality of southern African orphan care contexts and Learning Center, New York City. SLC, 2000– child outcomes. SLC, 2007– FACULTY 167

Joseph C. Forte Art History (on leave spring Savannah Film Festival), Beloved. Off Broadway: Year semester) Zero (Second Stage Uptown), Still Life (MCC), BA, Brooklyn College. MA, MPhil, PhD, Columbia Rainbow Kiss (The Play Company), The Water's Edge University. Special interest in art and architecture of (Second Stage), Pen (Playwrights Horizons), the Italian Renaissance and the 17th century, the Terrorism (The New Group/The Play Company), history of architecture, and art and architectural Omnium Gatherum (Variety Arts), Where We’re Born theory. Author of articles on Italian 16th-century and God Hates the Irish (both at Rattlestick drawings, French painting of the 17th century, and Playwrights Theatre), Get What You Need (Atlantic American 19th-century architecture. SLC, 1978– 453), and Kid-Simple (Summer Play Festival). Regional: Build at the Geffen Playhouse; Some Lovers T. Griffith Foulk Frieda Wildy Riggs Chair in Religious at the Old Globe Theatre; Romeo & Juliet, Bus Stop, Studies—Religion The Water's Edge, and A Servant of Two Masters at BA, Williams College. MA, PhD, University of Michigan. the Williamstown Theatre Festival; The Pillowman at Trained in Zen monasteries in Japan; active in George Street Playhouse; Hay Fever and The Price at Buddhist studies, with research interest in CenterStage; Sleuth at the Bay Street philosophical, literary, social, and historical aspects Theatre; Our Lady of 121st Street (Steppenwolf of East Asian Buddhism, especially the Ch’an/Zen Theatre); Omnium Gatherum (Actor’s Theatre of tradition. Co-editor in chief, Soto Zen Text Project Louisville). Artistic Director: Yale Cabaret (Tokyo); American Academy of Religion Buddhism (1999-2000). Recipient of Boris Sagal and Bill Foeller Section steering committee, 1987–1994, 2003–; directing fellowships. Contributor to The Paris board member, Kuroda Institute for the Study of Review, New York Magazine, Harper’s, and The Buddhism and Human Values. Recipient of Fulbright, London Review of Books. SLC, 2010– Eiheiji, and Japan Foundation fellowships and grants from American Council of Learned Societies and Merideth Frey Physics National Endowment for the Humanities. SLC, 1995– BA, . PhD, Yale University. Past research in novel magnetic resonance imaging (MRI) Marvin Frankel Psychology techniques for 3D imaging of solids and using optical BA, City College of New York. PhD, University of magnetometry for low-field nuclear magnetic Chicago. Clinical internship in client-centered resonance (NMR). Current research involves building therapy, Counseling Center of the University of a low-field magnetic esonancr e setup to explore Chicago; postdoctoral fellowship at Educational cross-disciplinary MR applications and develop new Testing Service, Princeton, . Contributed MR techniques at low magnetic fields. Previously recent chapters and articles that deal with the taught courses at and Princeton changing nature of the psychotherapeutic University, including helping develop investigative relationship, the anatomy of an empathic science learning environment physics labs. SLC, understanding, we-centered psychotherapeutic 2016– relationships, and the clinical education of nondirective and directive psychotherapists. SLC, Marek Fuchs Ellen Kingsley Hirschfeld Chair in 1972– Writing—Writing BA, . Wrote “County Lines” column in Melissa Frazier Associate Dean of the The New York Times for six years and a book, A Cold- College—Russian, Literature Blooded Business, based on a murder case he AB, Harvard University. PhD, University of covered in The New York Times, which Kirkus Reviews California–Berkeley. Special interests include the called “riveting.” Produces syndicated online video 19th-century novel and literature and the literary column for TheStreet.com, often a lead feature on marketplace. Author of articles and books on topics Yahoo! Finance. Served as editor-in-chief of including Pushkin, Senkovskii, Gogol, Tolstoy, and Fertilemind.net; twice named “Best of the Web” by Russian Formalism. Awarded the 2007 Jean-Pierre Forbes magazine. Awards include the Silver Award in Barricelli Prize for “Best Work in Romanticism 2007 from the League of American Communications Studies,” by the International Conference of Professionals; named the best journalism critic in Romanticism, for Romantic Encounters: Writers, the nation by Talking Biz website at the University of Readers, and the “Library for Reading” (Stanford North Carolina School of Journalism and Mass University Press, 2007). SLC, 1995– Communication. When not writing or teaching, serves as a firefighter in Hastings, New York. Most Will Frears Theatre recent book (2012) is on firefighters. SLC 2010– Sarah Lawrence College. Yale School of Drama. Film: Coach, All Saints’ Day (winner, best narrative short, 168 Faculty Izumi Funayama Japanese Source Theatre (DC), Tarragon Theatre (Toronto). BA, Waseda University, Japan. MA, Ohio University. Published by Dramatists Play Service and Applause PhD, The University of Texas-Austin. Doctoral Books. Member of the Actors Studio and E.S.T. SLC, Dissertation: Intercultural experiences and practices 2013– in a Chinese-Japanese joint venture: A study of narratives and interactions about and beyond Myla Goldberg Writing “Chinese” and “Japanese.” Associate professor, BA, Oberlin College. Author of the best-selling novel Kumamoto University, Japan; certified professional Bee Season (2000), which was adapted to film and co-active coach, Coach Training Institute; certified was a New York Times Notable Book, winner of the designer and facilitator of LEGO Serious Play Method; Borders New Voices Prize, finalist orf the NYPL Young certified instructor, Omotesenke tea ceremony. Lions Award and the Hemingway Foundation/PEN Recipient of Grants-in-Aid for Scientific esearR ch, award. Author of the novels Wickett’s Remedy (2005) The Ministry of Education, Culture, Sports, Science and The False Friend (2010) and of the essay and Technology, Japan. Interests include collection Time’s Magpie (2004) and the children’s intercultural communication, ethnography, narrative book Catching the Moon (2007). Short stories have analysis, discourse analysis, intercultural training, appeared in Harper’s. 2013 recipient of a Sustainable and intercultural coaching. SLC, 2014– Arts Foundation grant. SLC, 2008-

Liza Gabaston French Myra Goldberg Writing Graduate, École Normale Supérieure (rue d’Ulm), BA, University of California–Berkeley. MA, City Paris. Agrégation in French Literature, Doctorate in University of New York. Author of Whistling and French Literature, Paris-Sorbonne. Dissertation on Rosalind: A Family Romance; stories published in “Body Language in Proust’s À la recherche du temps journals, including The Transatlantic Review, perdu” (Honoré Champion, 2011). Beyond Proust and Ploughshares, Feminist Studies, The Massachusetts the narrative representation of the body, interests Review and The New England Review, and in the book include 19th- and early 20th-century literature, anthologies Women in Literature, Powers of Desire, history and theory of the novel, and relationships and The World’s Greatest Love Stories and elsewhere between literature and the visual arts. SLC 2010– in the United States and France; nonfiction published in Village Voice and elsewhere; recipient of Emilia Gambardella Italian Lebensberger Foundation grant. SLC, 1985–

Suzanne Gardinier Writing Martin Goldray Marjorie Leff Miller acultyF Scholar in BA, University of Massachusetts-Amherst. MFA, Music. 2010 Recipient of the Lipkin Family Prize Columbia University. Author of the long poem, The for Inspirational Teaching—Music (on leave New World, winner of the Associated Writing yearlong) Programs Award Series in poetry; A World That Will BA, Cornell University. MM, University of Illinois. DMA, Hold All the People, essays on poetry and politics; Yale University. Fulbright scholar in Paris; pianist and Today: 101 Ghazals (2008); the long poem, Dialogue conductor, with special interests in 17th- through With the Archipelago (2009); and fiction published in 20th-century music. Performed extensively and The Kenyon Review, The American Voice, and The recorded as pianist, soloist, chamber musician, and Paris Review. Recipient of The Kenyon Review Award conductor; performed with most of the major new for Literary Excellence in the Essay and of grants music ensembles, such as the New Music Consort from the New York Foundation for the Arts and the and Speculum Musicae; worked with composers Lannan Foundation. SLC, 1994– such as Babbitt, Carter, and numerous younger composers and premiered new works, including Beth Gill Dance many written for him. Toured internationally as a member of the Philip Glass Ensemble from Graeme Gillis Theatre 1983-1996; conducted the premieres of several Glass Artistic director of Youngblood, the company of operas and appears on many recordings of Glass’s emerging playwrights at Ensemble Studio Theatre music. Conducted film soundtracks and worked as (2012 Obie Award). Director of the E.S.T./Sloan producer in recording studios. Formerly on the Project, a $1.5 million program that fosters plays faculty of the Composers Conference at Wellesley about science, technology, and economics. Worked College. SLC, 1998– as a playwright at theatres throughout the United States and Canada, including E.S.T. (Youngblood, Emily Gould Writing Marathon of One-Act Plays), Rattlestick, Cherry Lane, Vampire Cowboys, Williamstown Theatre Festival, FACULTY 169

Peggy Gould Anita Stafford Chair in Service Matthea Harvey Writing (On leave spring semester) Learning—Dance (on leave spring semester) BA, Harvard College. MFA, University of Iowa Writers’ BFA, MFA, New York University, Tisch School of the Workshop. Poet, author of Pity the Bathtub Its Forced Arts. Certified eachert of Alexander Technique; Embrace of the Human Form (Alice James Books, assistant to Irene Dowd; private movement 2000); Sad Little Breathing Machine (Graywolf, 2004); education practice in New York City. Other teaching Modern Life (Graywolf, 2007), winner of the Kingsley affiliations: Smithollege, C The Ailey School/Fordham Tufts Award, a New York Times Notable Book of 2008, University, Dance Ireland/IMDT, 92nd St. Y/Harkness and a finalist orf the National Book Critics Center, SUNY Purchase (summer), Jacob’s Award; and a children’s book, The Little General and Pillow. Performances in works by Patricia Hoffbauer the Giant Snowflake, illustrated by Elizabeth Zechel and George Emilio Sanchez, Sara Rudner, Joyce S. Lim, (Soft Skull Press, 2007). Contributing editor for David Gordon, Ann Carlson, Charles Moulton, Neo jubilat and BOMB. Has taught at Warren Wilson, the Labos, T.W.E.E.D., Tony Kushner, Paula Josa-Jones. Pratt Institute, and the University of Houston. SLC, Choreography presented by Dixon Place, The Field, PS 2004– 122, BACA Downtown (New York City); Big Range Dance Festival (Houston); Phantom Theater (Warren, Mark Helias Music Vermont); Proctor’s Theatre (Schenectady, 2008/09 Contrabass Dangerous Music Commission). Grants: Meet the Composer, Lower Manhattan Cultural Council, Ann Heppermann Writing Harkness Dance Center. SLC, 1999– A Brooklyn-based, independent, radio/multimedia documentary producer, transmission sound artist, Robert Gould Theatre and educator, her stories air nationally and MFA, Sarah Lawrence College. Active in performance internationally on National Public Radio, the BBC, and art and theatre since the mid-1980s, starting as on numerous shows, including: This American Life, technical director at The Franklin Furnace Radio Lab, Marketplace, Morning Edition, Studio 360, performance space. Co-founded DSR, a sound and many others. Recipient of Peabody, Associated performance group, and toured Japan and Europe in Press, Edward R. Murrow, and Third Coast the late ’80s and early ’90s. Assistant Technical International Audio Festival awards. Transmission Director for the SLC theatre program prior to starting artist with free103point9; work exhibited at his own sound design company. Sound design credits UnionDocs, Chicago Center for the Arts, and other include: work for Off companies, venues. She has taught classes and workshops at including Naked Angels, Clubbed Thumb, Cucaracha Duke Center for Documentary Studies, , and Gabrielle Lansner; in-house sound designer for Columbia University, and the CUNY Graduate School Ensemble Studio Theatre (1999–2003) and designed of Journalism; for years, she was the director of radio most of its yearly Marathon series productions of at Brooklyn College. Co-creator of Mapping Main one-act plays during those years; created sound for Street, a collaborative media project documenting dance choreographers Jeanine Durning, Hetty King, the nation’s more than 10,000 Main Streets, which Lans Gries, and Lisa Race; and currently is an audio was created through AIR’s MQ2 initiative along with engineer for CBS News. SLC, 2008– NPR, the CPB, and the Berkman Center at Harvard University. Her work has been funded by the Gwenda-lin Grewal Philosophy Corporation for Public Broadcasting, Association of BA, Sarah Lawrence College. PhD, Tulane University. Independents, Arizona Humanities Council, and Andrew W. Mellon Postdoctoral Fellowship, Yale Berkman Center for Internet and Society at Harvard. University. Interests in Ancient Greek philosophy, the Currently, she is a Rosalynn Carter for Mental Health history of philosophy, and Classical Greek and Latin. Journalism Fellow and will be making a multimedia SLC, 2009, 2015– documentary about preteen anorexia in partnership with Ms. Magazine and NPR. SLC, 2010– Hilda Harris Music BA, North Carolina Central University. Singer and Luisa Laura Heredia Joanne Woodward Chair in actress; performer in opera, oratorio, and orchestral Public Policy—Public Policy concerts in the United States and Europe; solo artist BA, . MA, PhD, Harvard with Metropolitan Opera Affiliate Artist Program; University. Research interests include Latino and freelance recording artist, vocal division of the immigration politics, with special interests in Chautauqua Institution. SLC, 1992– migration control regimes, social movements, inequalities in citizenship, and religion in the United States and Spain. Current work compares the 170 Faculty development of US and Spain enforcement regimes, David Hollander Writing their constructions of racialized “illegal” bodies, and BA, State University of New York–Purchase. MFA, their radical movements to dismantle the state’s Sarah Lawrence College. Author of the novel L.I.E., a migration control practices. Her first book project, finalist orf the NYPL Young Lions Award. His short Illegal Redemption, investigates the crucial yet fiction and nonfiction vha e appeared in dozens of contradictory role that the Catholic Church has print and online forums, including McSweeney’s, played in challenging a growing and restrictive Conjunctions, Fence, Agni, The New York Times regime of immigration control in the United States in Magazine, Poets & Writers, Post Road, The Collagist, the contemporary period. Author of “From Prayer to Unsaid, The Black Warrior Review, The Brooklyn Rail, Protest: The Immigrant Rights Movement and the and Swink. His work has been adapted for film and Catholic Church,” a chapter in the edited volume, frequently anthologized, most notably in Best Rallying for Immigrant Rights, by Irene Bloemraad American Fantasy 2 and 110 Stories: New York Writes and Kim Voss. SLC, 2014– After September 11th. SLC, 2002–

Michelle Hersh Biology K.J. Holmes Dance AB, Bryn Mawr College. PhD, . Postdoctoral Research Associate, Bard College, Cary Cathy Park Hong Writing (on leave fall semester) Institute of Ecosystem Studies. Community ecologist BA, Oberlin College. MFA, University of Iowa Writers’ with a special interest in the connections between Workshop. Poet; author of Translating Mo’um biodiversity and disease. Author of articles on how (Hanging Loose Press, 2002); Dance Dance Revolution fungal seedling pathogens maintain tree diversity in (W. W. Norton, 2007), which was chosen for the temperate forests and how animal diversity alters Barnard New Women’s Poets Series; and Engine the risk of tickborne diseases. Recipient of grants Empire (W. W. Norton, 2012). Recipient of a New York from the National Science Foundation. Previously Foundation for the Arts fellowship, National taught at Bard College and Eastern Michigan Endowment for the Arts fellowship, and a Fulbright University. SLC, 2013– grant for South Korea. Work published in A Public Space, Poetry, Paris Review, McSweeney's, The Nation, Sally Herships Writing and Conjunctions, among others; essays and articles An award-winning journalist who has been making published in Village Voice, Guardian, Salon, and radio for over a decade, she currently reports for Christian Science Monitor. SLC, 2006– American Public Media's Marketplace. She has also produced or reported for ABC, BBC, The New York James Horowitz Literature Times, NPR, WNYC, and Studio 360 and has put in BA, New York University. MA, PhD, Yale University. many hours at Radiolab. Teaches writing for radio at Special interests include Restoration and 18th- Columbia University's Graduate School of Journalism; century literature, the history of the novel, film and hosts the live storytelling night, Stories You Can't Tell film theory, political history, Henry James, and on the Radio; and runs the Radio Boot Camp program gender studies. SLC, 2008– at UnionDocs. Her investigative project, "The Five Percent Rule," written about HowSound, was Marie Howe Writing awarded the 2011 Third Coast Radio Impact Award BS, University of Windsor, Canada. MFA, Columbia and Best Prepared Report for the 2011 Front Page University. Poet laureate of New York State; author of Awards from the Newswomen's Club of New York and The Good Thief, selected by Margaret Atwood for the was an IRE finalist. SLC, 2012– National Poetry Series; editor, with Michael Klein, of In the Company of My Solitude: American Writing Niko Higgins Music from the AIDS Pandemic; author of What the Living BA, Wesleyan University. MA, MPhil, PhD, Columbia Do; recipient of the Peter I. B. Lavan Younger Poet University. Ethnomusicologist and saxophonist. Prize from the Academy of American Poets, the Mary Interests in South Indian and fusion, Ingram Bunting fellowship from Radcliffe College, jazz, world music, improvisation, globalization, and grants from the National Endowment for the cosmopolitanism, sound studies, and ecomusicology. Arts, the Massachusetts Artist Foundation, and the Author of two articles on South Indian fusion and Guggenheim. SLC, 1993– leader and producer of two recordings. Taught at Columbia University, Montclair State University, and Tishan Hsu Visual and Studio Arts The New School. Fulbright and Fulbright Hays BSAD, MArch, Massachusetts Institute of Technology. recipient. SLC, 2015– Sculptor and painter; solo and group exhibitions in the United States, Mexico, and Europe; work included in major private and museum collections, including FACULTY 171 at the Metropolitan Museum of Art, High Museum, wellness beyond symptom reduction, and Centre Georges Pompidou (Paris), and Centro Cultural mindfulness-based interventions for new and Arte Contemporaneo (Mexico City); honorary expecting parents adjusting to parenthood. SLC, member, board of directors, White Columns, New 2013– York; recipient of grant from National Endowment for the Arts. SLC, 1994– John Jasperse Director, Dance Program—Dance BA, Sarah Lawrence College. Founded John Jasperse Eleanor Hullihan Dance Company, later renamed John Jasperse Projects, in 1989 and has since created 17 evening-length works Dan Hurlin Director, Graduate Theatre—Theatre, through this nonprofit structure, as well as Dance numerous commissions for other companies, BA, Sarah Lawrence College. Performances in New including Baryshnikov’s White Oak Dance Project, York at Dance Theater Workshop, PS 122, La MaMa Batsheva Dance Company, and Lyon Opera Ballet. E.T.C., Danspace, The Kitchen, St. Ann’s Warehouse, John Jasperse Projects have been presented in 24 US and at alternative presenters throughout the United cities and 29 countries by presenters that include States and the United Kingdom. Recipient of a Village the Brooklyn Academy of Music, The Joyce Theater, Voice OBIE Award in 1990 for solo adaptation of New York Live Arts, Dance Theater Workshop, The Nathanael West’s A Cool Million and the 2000 New Kitchen, Walker Art Center, Museum of Contemporary York Dance and Performance (“Bessie”) Award for Art Chicago, American Dance Festival, La Biennale di Everyday Uses for Sight, Nos. 3 & 7. Recipient of Venezia, Dance Umbrella London, Montpellier Danse, fellowships from National Endowment for the Arts, and Tanz im August Berlin. Recipient of a 2014 Doris New Hampshire State Council on the Arts, and Duke Artist Award, two Bessie awards (2014, 2001), Guggenheim (2002–2003) and of grants from and multiple fellowships from US Artists, Foundation Creative Capital, Rockefeller Foundation, New York for Contemporary Arts, Tides/Lambent Foundation, State Council on the Arts, Mary Cary Flagler Guggenheim Foundation, New York Foundation for Charitable Trust, and the New England Foundation the Arts, and National Endowment for the Arts, in for the Arts. Recipient of the Alpert Award in the Arts addition to numerous grants and awards for John for Theatre, 2004. Former teacher at Bowdoin, Jasperse Projects. On the faculty and taught at many Bennington, Barnard, and Princeton. SLC, 1997– distinguished institutions nationally and internationally, including MFA, Vera Iliatova Visual and Studio Arts University of California–Davis, Movement Research, BA, Brandeis University. MFA, Yale University. PARTS (Brussels, Belgium), SEAD (Salzburg, Austria), Represented by Monya Rowe Gallery in New York City, Centre National de la Danse (Lyon, France), and venue of her fifth solo xhibitione in 2015. Work Danscentrum (Stockholm, Sweden). Co-founder of included in numerous exhibitions in the United CPR (Center for Performance Research) in Brooklyn, States and abroad at venues that include: Galleria NY. SLC, 2016– Glance, Torino, Italy; Mogadishni Gallery, Copenhagen; New Langton Art Center, San Francisco; Artist Space, James Jeter Music New York; and David Castillo Gallery, Miami. Previously held full-time teaching appointments at Kate Knapp Johnson Writing Massachusetts College of Art, University of BA, MFA, Sarah Lawrence College. NCPsyA, California–Davis, and University of New Hampshire. Westchester Institute. Special interests include Recipient of residencies at Skowhegan School of Art Jungian studies and religion; author of When Orchids and Vermont Studio Center; awarded free studio Were Flowers, This Perfect Life, and Wind Somewhere, space in The Space Program at the Marie Walsh and Shade, which received the Gradiva Award; most Sharpe Foundation, 2007/2008. SLC, 2014– recently published in Ploughshares, The Salt Journal, Luna, and The Sun; recipient of New York Foundation Meghan Jablonski Psychology for the Arts Award. SLC, 1987– BA, . MA, PhD, The New School for Social Research. Clinical psychologist with special Elizabeth Johnston Psychology interests in attachment theory and the impact of MA, St. Andrew’s University, Scotland. DPhil, Oxford important relationships throughout life, the role of University. Special interests in human perception of creative processes in wellness and resilience, and three-dimensional shape, binocular vision, and the mindfulness practices. Current work includes perception of depth from motion; author of articles psychodynamic/relational psychoanalytic and book chapters on shape perception from approaches to life changes and adjustments, flow- stereopsis, sensorimotor integration, and combining and mindfulness-based interventions promoting depth information from different sources. SLC, 1992– 172 Faculty Kenneth G. Karol Biology Daniel King Mathematics BSc, University of Wisconsin-Madison. PhD, University BS, . MS, PhD, University of Virginia. of Maryland-College Park. Research interest in Special interests in mathematics education, game molecular systematics, classification and evolution theory, history and philosophy of mathematics, and of green algae and land plants, and interest in the outreach of mathematics to the social sciences organellar genome evolution. Currently an assistant and the humanities. Author of research papers in the curator at the New York Botanical Garden’s Cullman areas of nonassociative algebra, fair-division theory, Molecular Systematics Program, adjunct faculty and mathematics education; of the member at City University of New York, international Metropolitan New York Section of the Mathematical collector of algae, and author of more than 30 Association of America; member, board of editors, papers and book chapters on algae and land plant The College Mathematics Journal. SLC, 1997– evolution. SLC, 2008– Timothy Kreider Writing Kathy Kaufmann Dance Essayist and cartoonist. Author of We Learn Nothing BA, New York University. Lighting designer for dance (Simon & Schuster). Contributor to The New York and performances around the world for more than Times, The New Yorker‘s “Page-Turner” blog, al 20 years. Worked with many fine artists, including Jazeera, Men’s Journal, nerve.com, The Comics Sally Silvers, Douglas Dunn, David Parker and the Journal, and Film Quarterly. His cartoons have been Bang Group, Maura Donohue, Rebecca Stenn, Ben collected in three books by Fantagraphics. His Munisteri, Eiko & Koma, Adrienne Truscott, Hilary cartoon, “The Pain–When Will It End?” ran for 12 Easton, Enrico Wey, Jacques D’Amboise, Paige Martin, years in the Baltimore City Paper and other Laura Pawel, Keely Garfield, Neta Pulvermacher, alternative weeklies and is archived at Arturo Vidich, Mari Lopez, Michelle Dorrance, paincomics.com. SLC, 2014– Dormeisha Sumbry-Edwards, Amanda Loulaki, Gina Gibney, Aitana Cordero, Cherylyn Lavagnino, Larissa Mary LaChapelle Writing (on leave fall semester) Velez-Jackson, Roseanne Spradlin, Jack Ferver, Jody BA, University of Minnesota. MFA, Vermont College. Oberfelder, and Kota Yamazaki. Also lights events for Author of House of Heroes and Other Stories; stories, The Food Network and was a production manager for essays and anthologies published by New Rivers the Hudson River Festival (now known as River to Press, Atlantic Monthly Press, Columbia Journal, River) for 8 years. Received a “Bessie” (New York Global City Review, Hungry Mind Review, North Dance and Performance Award) for her body of American Review, Newsday, The New York Times; lighting design work in 2004 and for Yvonne Meier's recipient of the PEN/Nelson Algren, National Library Stolen in 2009. Also honored to be included in Curtain Association, Loft Mcknight and The Whiting Call: Celebrating 100 Years of Women in Design at the Foundation awards; fellowships from the New York Performing Arts Library. SLC 2012– Hedgebrook, Katherine Anne Porter, Edward Albee, and Bush foundations. SLC, 1992– Sibyl Kempson Theatre Eduardo Lago Spanish, Literature Paul Kerekes Music (Composition) MA, Universidad Autónoma de Madrid, Spain. PhD, BMus, CUNY Queens College. MM, MMA, Yale School of Graduate Center, City University of New York. Special Music. New York-based composer and pianist whose interests in translation theory, the aesthetics of the music has been performed by American Composers Baroque, and the connections among contemporary Orchestra, Da Capo Chamber Players, and New Morse US Latino, Iberian, Spanish American, and Luso- Code, in Merkin Hall, (le) poisson rouge, and The Brazilian fiction writers. Author of Ladrón de mapas Winter Garden. He attended The Bang on a Can (Map Thief), a collection of short stories published in Summer Music Festival, Aspen Music Festival, and September 2007; Cuentos disperses (Scattered The Young Artists Piano Program at Tanglewood. Tales), a collection of short stories, and Cuaderno de Member of Grand Band, a six-piano ensemble Méjico (Mexican Notebook), a memoir of a trip to featured in The Bang on a Can Marathon and the Chiapas, both published in 2000. First novel Llámame Gilmore International Keyboard Festival. Award Brooklyn (Call Me Brooklyn) in 2006 won Spain’s recipient from ASCAP, the Academy of Arts and Nadal Prize and the City of Barcelona Award for best Letters; recipient of the 2015 JFund award from the novel of the year, the Fundación Lara Award for the American Composer’s Forum. SLC, 2017– novel with the best critical reception, the National Critics Award, and best novel of the year in Spain by Barbara Bray Ketchum Dance El Mundo. Recipient of the 2002 Bartolomé March FACULTY 173

Award for Excellence in Literary Criticism. Currently abandoned stores, as well as more traditional director of Instituto Cervantes of New York. SLC, venues. Conducted theatre workshops for 1994– participants of all ages in New York City, Yonkers, Westchester County, and throughout the United Kevin Landdeck Adda Bozeman Chair in States and abroad. Wrote, directed, and performed in International Relations—Asian Studies, History original plays presented in schools, community BA, Valparaiso University. MA, University of Michigan- centers, and museums in Yonkers, Westchester Ann Arbor. PhD, University of California-Berkeley. County, and beyond. Recipient of grants from the Recipient of a Chiang Ching-kuo Foundation National Endowment of the Arts, The Wisconsin dissertation grant for archival research in Council of the Arts. Sarah Lawrence College Theatre Chongqing, China. Research concerns 20th-century Outreach co-director; artistic director of the Sarah China, specifically Kuomintang war mobilization and Lawrence College theatre program, 2007-2010. SLC, interior society during the Sino-Japanese War 1998– (1937-45). Dissertation, “Under the Gun: Nationalist Military Service and Society in Wartime Sichuan, Ann Lauinger Literature 1938-1945,” presently being revised for future BA, University of Pennsylvania. MA, PhD, Princeton publication, examines the state-making projects University. Special interest in medieval and embedded within conscription and voluntary Renaissance poetry, particularly English. Author of enlistment in Chiang Kai-shek’s army. Translating papers and articles on Shakespeare and Ben Jonson; the confessions and jottings of a captured KMT spy, of Persuasions of Fall (The University of Utah Press, who spent 16 years undergoing self-reform in a 2004) and Against Butterflies (Little Red Tree communist prison, is a side project currently in Publishing, 2013), both books of poems; and of progress. Key areas of interest include China’s poems published in Confrontation, Missouri Review, transition from a dynastic empire to a nation-state; Parnassus, and other magazines. Recipient of Agha the role of war in state-making; modes of political Shahid Ali Poetry Prize, Ernest J. Poetry Prize, mobilization and their intersection with social Thouron-University of Pennsylvania British-American organization; and private life and selfhood, including Exchange Program scholarship; national, regional, or local and personal identities. Fellow. SLC, 1973– Broadly teaches on modern (17th century to present) 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 Andrea Lerner Dance Pool. Recipient of the Lipkin Playwright Award and Drury College Playwright Award. Plays produced in Billy Lester Music () New York City at Pan Asian Rep, Red Shirt BA, Lehman College. Manhattan School of Music. Entertainment, La Mama, The Nuyorician Poets Cafe, Taught at Diller-Quaile Music School; music and other venues. In New York, directed new plays by appreciation at Lehman College; private teaching, Richard Vetere, Adam Kraar, Diane Luby, and Michael 1976-present. : Heineken Jazz Festival, Schwartz. Established The River Theatre Company in 1984. Six recordings. "Storytime" nominated by NPR Central Wisconsin with a company of local players. as one of the best in jazz of 2013. Performs in the Directed, toured with the work of Samuel Beckett, United States and in Europe. SLC, 2017– Eugene Ionesco, Slawomir Mrozek, David Lindsay Eric Leveau French, Literature Abaire, and John Patrick Shanley, among others. Graduate of École Normale Supérieure, Fontenay- Performances presented on NPR and in shopping Saint Cloud, France. Agrégation in French Literature malls, street festivals, bus stops, parking lots, and and Classics, Doctorate in French literature, Paris- 174 Faculty Sorbonne. Special interest in early modern French Commissioned adaptations range from The literature, with emphasis on theories and poetics of Possessed by Dostoevsky to How it Ended by Jay theatre, comedy and satire, rhetoric, and the McInerney. SLC, 2013– evolution of notions of writer and style during the period. SLC, 2003-2006; 2008– Doug MacHugh Theatre, Filmmaking and Moving Image Arts Linwood J. Lewis Psychology BA, New England College. MFA, Sarah Lawrence BA, Manhattanville College. MA, PhD, City University College. Peace Corps, El Salvador. Writer of PSAs, of New York. MS, Columbia University. Special commercials, industrials, and documentaries. Script interests in the effects of culture and social context writer and talent director at Gates Productions for 80 on conceptualization of health and illness; effects of hours of local and regional live television in Los the physical environment on physical, psychological, Angeles; one of two conceptual designers for and social health; multicultural aspects of genetic Mitsubishi’s Waterfront Project, creating 32 counseling; the negotiation of HIV within families; amusement park attractions; creative producer of and the development of sexuality in ethnic minority Red Monsoon, a shot in Nepal. Film adolescents and adults. Recipient of a MacArthur acting credits include Clean and Sober, Alien Nation, postdoctoral fellowship and an NIH-NRSA research Come See the Paradise, and Weird Science; television fellowship. SLC, 1997– acting credits include Guiding Light, Law and Order, Cheers, Quantum Leap, LA Law, and Night Court; Matt Lopez Dance stage credits include Holy Ghost, End Game, Zoo Story, Fishing, and Wat Tyler; directing credits include Kevin Lotery Art History Platypus Rex, Mafia on Prozac, The 17th of June, North BA, Columbia University. MA, PhD, Harvard University. of Providence, Only You, To Kill A Mockingbird, and The Research focuses on the interactions of art, Weir. Co-director and co-producer of SLC Web Series, architecture, technology, and forms of scientific “Socially Active,” Web feature film Elusive, and research in modern and contemporary aesthetic television pilot “Providers.” Recipient of two [Los production. Specific ocusf on cross-disciplinary Angeles] Drama-Logue Critics’ Awards for acting. spatial practices such as exhibition-making and SLC, 2000– installation art; special interest in interactions between art and historical trauma. Co-editor of Greg MacPherson Theatre special issue of October magazine, Artists Design Designed lighting for hundreds of plays and musicals Exhibitions (2014). Forthcoming and published texts in New York and around the United States, as well as in October, caa.reviews, Afterall Online, as well as in Europe, Australia, Japan, and the Caribbean. Routledge Companion to Scenography and Reaper: Designs have included original plays by Edward Allan Sigfried Giedion and Richard Hamilton. At work on Baker, Cassandra Medley, Stewart Spencer, Richard book project, The Long Front of Culture: The Greenberg, Warren Leight, Lanford Wilson, Romulus Independent Group and Exhibition Design. Former Linney, Arthur Miller, and David Mamet. Continues to curatorial assistant at the Guggenheim Museum. SLC, design the Las Vegas production of Penn & Teller and 2017– to work as resident designer for the Project. Received an American Theatre Wing Robert Lyons Creative Director—Theatre Maharam Award nomination for his lighting design Playwright, director, and artistic director of the two- of E.S.T.’s Marathon of One-Act Plays. SLC, 1990– time OBIE Award-winning New Ohio Theatre in Manhattan. Most recently a writer on Lush Valley, Sara Magenheimer Visual and Studio Arts which was developed at The Playwright’s Center in A video artist who has widely exhibited, performed, Minneapolis and produced at HERE Art Center in fall and screened her work, her recent exhibitions 2011. Other recent productions include, Nostradamus include Foxy Production, Interstate Projects, White Predicts the Death of Soho, Red-Haired Thomas (“a Columns, Document, Chapter NY, 247365, and sweetly fractured fairy tale”—The New York Times), Cleopatra’s. She performed in bands from 2004 to and Doorman’s Double Duty (“A gem!”—The New 2010, touring extensively and releasing five records. York Times). Other plays include, PR Man, No Meat No Recipient: 2014 Rema Hort Mann Foundation Grant Irony, The Naked Anarchist, Dream Conspiracy, and 2015 Artadia Grant; winner, Prix De Varti at the Creature of the Deep, No Thanks/Thanks, Vater Knows 2015 Ann Arbor Film Festival. Current exhibitions Best, and Floor Boards, which have been presented in include: Art In General New Commission, Riga, Latvia; New York City by Soho Think Tank, HERE Arts Center, two-person screening at The High Line with Hannah Project III Ensemble, Clubbed Thumb, The Foundry, Black; and a solo exhibition at The Kitchen in New and Synapse Productions, among others. FACULTY 175

York in early 2017. Taught and guest lectured at New Short (second place), Galway Film Fleadh; Best York University, The School of the Visual Arts, The Comedy/Best of Night, Polo Ralph Lauren New Works School of the Art Institute of Chicago, Tyler School of Festival; BBC’s Best Short Film About the Art at Temple University, , Environment, Tel Aviv International Student Film and SUNY Purchase College. SLC, 2017- Festival; opening-night selection, Three Rivers Film Festival; Hong Kong International Jewish Film Merceditas Mañago-Alexander Dance Festival; Irish Reels Film Festival; Seattle True BA, SUNY–Empire State College. Dancer with Doug Independent Film Festival; New Filmmakers Varone and Dancers, Pepatian, Elisa Monte Dance Screening Series; Hoboken International Film Company, Ballet Hispanico, and independent Festival; Miami Jewish Film Festival; Munich choreographers such as Sara Rudner and Joyce S. International Student Film Festival; Palm Beach Lim. Recipient of the Outstanding Student Artist International Jewish Film Festival; Pittsburgh Israeli Award from the University of the Jewish Film Festival; Toronto Jewish Film Festival; Presidents’ Committee on Culture and the Arts. Vancouver Jewish Film Festival; finalist, Pipedream Taught at Alvin Ailey School; guest faculty member, Screenplay Competition; third prize, Acclaim TV 92nd Street Y, Marymount Manhattan College, Writer Competition; second place, TalentScout TV Metropolitan Opera Ballet, New York University Tisch Writing Competition; finalist, People’s Pilot Television School of the Arts, Mason Gross Writing Contest; Milos Forman Award; finalist, School of the Performing Arts. Participant/teacher, Academy of Motion Picture Arts and Sciences 2004 Bates Festival-Young Dancers Workshop; solo Student Film Awards. Current feature film projects works: Free Range Arts, Dixon Place, Brooklyn Arts include: screenwriter/director/producer, Strange Exchange, and Danspace Project/St. Mark’s Church. Girls, Mdux Pictures, LLC; screenwriter/director, SLC, 2002– Shoelaces. SLC, 2007–

Thomas Mandel Theatre James Marshall Computer Science (on leave BA, . Songwriting with Paul Simon, yearlong) New York University, 1969; taught Singing Workshop BA, Cornell University. MS, PhD, Indiana University- with John Braswell at Sarah Lawrence (1971-77); Bloomington. Special interests in robotics, scored musicals at Sarah Lawrence, evolutionary computation, artificial intelligence, and Theatre, and Cafe LaMaMa, New York City; composed, cognitive science. Author of research papers on orchestrated, and musical-directed three rock developmental robotics, neural networks, and operas Off-Off Broadway and at Sarah Lawrence. computational models of analogy; author of the (The first, Joe’s Opera, was twice optioned for Metacat computer model of analogy. SLC, 2006– Broadway production; animated the second, The Sea of Simile, on a full-length DVD.) Toured and recorded Aaron Mattocks Dance (1977-1998) from Vietnam to Vienna, New York City to Sun City, with Dire Straits, Bryan Adams, Cyndi Julianna May Dance Lauper, , Bon Jovi, B-52s, the Pretenders, Nils Lofgren, Little Steven, Peter Wolf, Ian Hunter/ Jeffrey McDaniel Writing Mick Ronson, two former NY Dolls, Live at CBGB’s, the BA, Sarah Lawrence College. MFA, George Mason Spinners, Shannon, John Waite, and Pavarotti. University. Author of five books of poetry, most Returned to Sarah Lawrence in 2000 to work with recently Chapel of Inadvertent Joy (University of Shirley Kaplan, William McRee, and Thomas Young. Pittsburgh Press, 2013). Other books include The Fields of expertise: Hammond organ, rock-and-roll Endarkenment (Pittsburgh, 2008), The Splinter piano, synthesizer programming and sequencing, Factory (Manic D Press, 2002), The Forgiveness piano accompaniment, popular and progressive Parade (Manic D Press, 1998), and Alibi School (Manic music of the 1950s-1990s. SLC, 1971-77, 2000– D Press, 1995). His poems have appeared in numerous journals and anthologies, including Best Rona Naomi Mark Filmmaking and Moving Image American Poetry in 1994 and 2010. Recipient of an Arts NEA Fellowship. SLC, 2011– BA, Hebrew University of Jerusalem. MFA, Columbia University. Award-winning writer, director, and Kevin McKenna Dean of Enrollment—Music producer. Festivals and awards include: Best of Fest, William D. McRee Theatre Edinburgh International Film Festival; Audience BA, Jacksonville University. MFA, Sarah Lawrence Choice Award, Filmmaker Magazine; Scenario Award, College. Co-founder and artistic director for Canadian International Film and Video Festival; Best Jacksonville’s A Company of Players, Inc.; 176 Faculty productions with The Actor’s Outlet, Playwrights Theatre and City Center in New York City; her works Horizons, Summerfest, and the Ensemble Studio have been commissioned and presented by The Theatre. SLC, 1981– Kitchen (Fanfare, with set décor by Burt Barr), Dance Theater Workshop, La Mama for OtherShore Dance Cassandra Medley Theatre Company, Jacob’s Pillow, The American Dance Producer of plays, including American Slavery Project Festival, Barnard College, Bennington College, Dance (2012-13). Cell (2013), Ensemble Studio Theatre Box, Kansai, Japan, and opening the Dublin Dance Marathon (2011), is pending publication in the Festival (2011) at the Irish Museum of Modern Art. anthology Outstanding One-Act Plays—2012, She has worked with a vast array of dance artists Dramatists Play Service; Daughter, Ensemble Studio such as Twyla Tharp and Mikhail Baryshnikov and Theatre Marathon (2009), published by Broadway continues to perform with choreographers Sara Play Publishing (2012). Noon Day Sun (August, 2008), Rudner, Vicky Shick, Jon Kinzel, John Jasperse, Liz Diverse City Theatre Company, Theatre Row, New Roche, and Susan Rethorst. Currently, she also York City, was nominated for the August Wilson teaches at Barnard College at Columbia University, Playwriting Award (2008); Noon Day Sun was also New York University (in the Experimental Theater published by Broadway Play Publishing. Relativity, a Wing), and Trevor Day School. SLC, 2013– commission from the Alfred P. Sloan Foundation, Ensemble Studio Theatre (2004), was produced by Roberta Michel Music (Flute) Kuntu Repertory of Pittsburgh, Southern Repertory of BA, University of at Boulder. MM, New Orleans (2007), the Ensemble Studio Theatre SUNY–Purchase. DMA, City University of New York (May 2006), St. Louis Black Repertory Theatre Graduate Center. Recipient of the Artists (February 2006), and the Magic Theatre in San International Special Presentation Award, debuted at Francisco (June 2004); Relativity, published by Carnegie Hall’s Weill Recital Hall. Winner, National Broadway Play Publishing, also won the Audelco Flute Association’s Graduate Research Competition, August Wilson Playwriting Award (2006) and was Purchase College Baroque Competition. featured on Science Friday on National Public Radio Bang on a Can Summer Institute fellow. Participant and in an online broadcast of the Los Anegeles in the Institute and Festival of Contemporary Repertory Theatre (February 2008). Marathon Performance at Mannes College, Banff estival,F and (2004-06) was also published by Broadway Play Domaine Forget. SLC, 2017– Publishing. Recipient of the “Going to the River Writers” Life Achievement Award (2004), Ensemble Timothy Miller Literature Studio Theatre 25th Anniversary Award for Theatre BA, . PhD, University of Notre Dame. Excellence (2002), the Theatrefest Regional Special interests include medieval English literature Playwriting Award for Best Play (2001), the New and its transcultural reception history, narrative Professional Theatre Award (1995), and the Marilyn theory, classical Latin literature and its legacies, and Simpson Award (1995); a finalist orf the Susan Smith science in literature from the Middle Ages to Blackburn Award in Playwriting (1989) and winner of contemporary science fiction. SLC, 2014– the National Endowment for the Arts Playwright Award (1990). Recipient of a New York Foundation Nicolaus Mills Literature for the Arts grant (1986) and a New York State BA, Harvard University. PhD, Brown University. Special Council on the Arts grant (1987). Taught at New York interest in American studies. Author of Winning the University and served as guest artist at Columbia Peace: The Marshall Plan and America’s Coming of University, the University of Iowa Playwrights Age as a Superpower, The Triumph of Meanness: Workshop, and Seattle University. Staff writer for ABC America’s War Against Its Better Self, Their Last Television, One Life to Live (1995-97), and a Battle: The Fight for the National World War II playwright member of the Ensemble Studio Theatre Memorial, Like a Holy Crusade: Mississippi 1964, The and New River Dramatists. SLC, 1989– Crowd in American Literature, and American and English Fiction in the Nineteenth Century. Editor of Jodi Melnick Dance Getting Out: Historical Perspectives on Leaving Iraq, BFA, State University of New York–Purchase. Debating Affirmative Action, Arguing Immigration, Choreographer, performer, and teacher. A 2012 Culture in an Age of Money, Busing USA, The New Guggenheim fellow and recipient of the Jerome Journalism, and The New Killing Fields. Contributor to Robbins New Essential Works grant (2010-2011), a , The New York Times, Chicago Foundation for Contemporary Arts award, 2011 Tribune, San Francisco Chronicle, Newsday, The Grants to Artists award, and two Bessies (2001 and Nation, Yale Review, National Law Journal, and The 2008). Her dances have been performed at The Joyce Guardian; editorial board member, Dissent magazine. FACULTY 177

Recipient of fellowships from the Woodrow Wilson the Rome Prize in Literature and grants from the Foundation, American Council of Learned Societies, Guggenheim Foundation, National Endowment for and the Rockefeller Foundation. SLC, 1972– the Arts, and Creative Artists Public Service Awards. SLC, 1994– Greta Minsky Theatre BA, University of Kansas. MA, Sarah Lawrence Bari Mort Music College. Stage manager of original productions of BFA, State University of New York–Purchase. MM, The works by Tom Stoppard, Neil Simon, Laurence Juilliard School. Pianist, winner of Artists Fishburne, Doug Wright, , Larry L. King, International Young Musicians Auditions; New York Ernest Abuba, and Lillian Garrett-Groag, among recital debut at Weill Recital Hall at Carnegie Hall. others. Broadway, Off Broadway, touring, dance, Member of New York Chamber Ensemble; performed opera, and concert work includes productions with with International String Quartet, Musica de Camera, Manhattan Theatre Club, Circle Rep, WPA, Pan Asian Da Capo Chamber Players, Colorado String Quartet, Rep, , La MaMa E.T.C., The Women’s American Symphony Orchestra, Columbia Artists’ Project, Radio City Music Hall, Carnegie Hall, and New Community Concerts. Broadcasts include PBS’s Live York City Opera. Co-founder of Modern Times Theater. from Lincoln Center and NPR in New York and San SLC, 1998– 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, 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; , 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

Mary Morris Writing Jamee K. Moudud Economics BA, Tufts College. MPhil, Columbia University. BS, MEng, Cornell University. MA, PhD (Honors), The Novelist, short-story writer, and writer of travel New School for Social Research. Current interests literature. Author of the novels The Jazz include the study of industrial competition, the Palace, Crossroads, The Waiting Room, The Night Sky, political economy of the developmental welfare House Arrest, Acts of God, and Revenge; the short state, the determinants of business taxes, and the story collections Vanishing Animals and Other study of Schumpeter’s analysis of the tax state. SLC, Stories, The Bus of Dreams, and The Lifeguard Stories; 2000– the travel memoirs Nothing to Declare: Memoirs of a Woman Traveling Alone and Wall to Wall: From Beijing David Moyer Theatre to Berlin by Rail; an anthology of the travel literature Patrick Muchmore Music of women, Maiden Voyages and Angels and Aliens: A BM, University of Oklahoma. Composer/performer Journey West; recent work published in Atlantic with performances throughout the United States; Monthly, Narrative, and Ploughshares. Recipient of 178 Faculty founding member of New York’s Anti-Social Music; Short, Illustrated History of Labor in the United theory and composition instructor at City College of States; contributor to various encyclopedias and New York. SLC, 2004– anthologies and to educational projects sponsored by labor and community organizations; reviewer for Joshua Muldavin Geography Journal of American History, Journal of Urban History, BS, MA, PhD, University of California-Berkeley. Special International Labor and Working Class History, and interests in China, Japan, and Asia policy, rural other historical journals; contributor and editorial development, international aid, agriculture and food, associate, Radical History Review; recipient of climate change, environment, political economy, and Hewlett-Mellon grants. SLC, 1988– political ecology. Current research projects analyze international environmental policy and impacts on Chieko Naka Japanese local resource use and vulnerability in the Himalayan BA, Ochanomizu University, Japan. MA, University of region; climate change policy; socialist transition’s Windsor, Canada. Special interest in intercultural environmental and social impacts in China; communications. Taught Japanese as a second sustainable agriculture and food systems; global language at secondary schools and universities in resource and development conflicts via apitc al flows Canada, The Philippines, Republic of Korea, and the to Africa, Latin America, and South/Southeast Asia; United States. Trained Filipino teachers in the Japan and aid to China since 1978. Twenty-eight years of Foundation program in Manila. Wrote featured field esearr ch, primarily in rural China. Recipient of articles in the daily Japanese newspaper, Kitanihon grants from National Science Foundation, Social Shinbun. SLC, 2010– Science Research Council, Ford Foundation, MacArthur Foundation, and Fulbright. Invited Ellen Neskar Merle Rosenblatt Goldman Chair in lecturer at Princeton, Yale, Oxford, Johns Hopkins, US Asian Studies—Asian Studies Congressional Commission, European Parliament. BSc, University of Toronto. MA, MPhil, PhD, Columbia Executive director of the Action 2030 Institute. University. Special interest in the social and cultural Contributor to The Political Geography Handbook, history of medieval China, with emphasis on the Economic Geography, Geopolitics, Environment and intersection of politics and religion; author of Planning A, Geoforum, and Annals of the Association Politics and Prayer: Shrines to Local Worthies in Sung of American Geographers, International Herald China; member, Association of Asian Studies; Tribune, BBC World News, and other media outlets. recipient of an American Council of Learned SLC, 2002– Societies grant. SLC, 2001–

Parthiban Muniandy Sociology David Neumann Theatre BA, PhD, University of Illinois. Research focuses on As artistic director of the advanced beginner group, temporary labor migration in Southeast Asia and work presented in New York City at P.S. 122, Dance South Asia; particular interest in exploring how new Theatre Workshop, Central Park SummerStage regimes of migration are emerging, under which (collaboration with John Giorno), Celebrate Brooklyn, “temporary labor” migrants are becoming and Symphony Space (collaboration with Laurie increasingly commonplace in fast-developing Anderson). Featured dancer in the works of Susan societies in Asia, and how informality and informal Marshall, Jane Comfort, Sally Silvers, Annie-B Parson practices become important elements that affect & Paul Lazar’s Big Dance Theatre, and club legend the lives of migrant women and men. Author of Willi Ninja; previously a member of Doug Varone and Politics of the Temporary: Ethnography of Migrant life Dancers and an original member and collaborator for in Urban Malaysia (2015) and peer-reviewed articles eight years with the Doug Elkins Dance Company. in International Sociology, Journal of Ethnic and Over the past 20 years, choreographed or performed Migration Studies and Asian Journal of Social Science. with directors Hal Hartley, Laurie Anderson, Robert Former appointments: Lecturer of Global Studies, Woodruff, Lee Breuer, Peter Sellars, JoAnn Akalaitis, University of Illinois at Urbana-Champaign. SLC, Mark Wing-Davey, and Les Waters; recently appeared 2017– in Orestes at Classic Stage Company, choreographed The Bacchae at the Public Theatre, and performed in Priscilla Murolo History (on leave fall semester) a duet choreographed with Mikhail Baryshnikov. SLC, BA, Sarah Lawrence College. MA, PhD, Yale University. 2007– Special interest in US labor, women’s, and social history; author, The Common Ground of Womanhood: Erica Newhouse Theatre Class, Gender, and Working Girls’ Clubs; co-author, Sarah Lawrence College, École Jacques LeCoq, The From the Folks Who Brought You the Weekend: A Julliard School. New York-based actor and dancer. Theatre credits include: The Rise and Fall of Annie FACULTY 179

Hall (The Lion), Frequency Hopping (3LD), Stars in Her Foundation; a finalist orf the Forward Prize for best Eyes (Ars Nova/The Brick), Ah, My Dear Anderson poetry book published in the United Kingdom. SLC, (Urban Stages); Williamstown Theatre Festival: 2004– Demon Dreams, Miss Julie, Sweet Bird of Youth, Two Small Bodies; other: House of Blue Leaves (dir., Will John O’Connor Visual and Studio Arts Pomerantz), The Greeks Part II: The Murders (Brian BA, Westfield (Mass.) State College. MFA, MS, Pratt Mertes), Twelfth Night (Jesse Berger), The Winter’s Institute. Attended Skowhegan School of Painting Tale (Harris Yulin), Suddenly Last Summer (Sam and Sculpture. Recipient of a New York Foundation Gold). TV credits: Mozart in the Jungle, The Blacklist, for the Arts grant in painting and the Pollock-Krasner Blue Bloods, The Good Wife, Law and Order. Film Foundation grant. Taught at Princeton University, credits: I’m Coming Over. Dance credits: Restless Pratt Institute, and New York University. Recent Night (Gibney Dance Center), Vic and Zeno Are exhibitions at Pierogi Gallery in Brooklyn, Martin Friends (The Brooklyn Museum of Art), Britney’s Asbaek Projects in Copenhagen, Fleisher Ollman Inferno (Dance Theater Workshop). Ongoing member Gallery in , and The Lab in Dublin of Outside the Wire and its Theatre of War and TAPE (Ireland). His work is included in the collections of programs, performing on army bases all over the the Museum of Modern Art, Whitney Museum of country and the world (most recently in Kuwait and American Art, Southern , and Qatar) as part of suicide and sexual assault New Museum of Contemporary Art. SLC 2010– prevention programs. SLC, 2011– Stephen O’Connor Writing Philipp Nielsen History BA, Columbia University. MA, University of BSc, London School of Economics and Political California–Berkeley. Author of Thomas Jefferson Science. PhD, Yale University. Specializes in the Dreams of Sally Hemings, Here Comes Another intellectual, cultural, and political history of modern Lesson, short fiction; Rescue, short fiction and Europe, with particular emphasis on German and poetry; Will My Name Be Shouted Out?, memoir and Jewish history. Research addresses the history of social analysis; Orphan Trains: The Story of Charles democracy and its relation to emotions, Loring Brace and the Children He Saved constitutional law, and architecture. His book and Failed, history/biography. Fiction and poetry manuscript, “From Promised Land to Broken Promise: have appeared in The New Yorker, Conjunctions, One Jews, the Right, and the State in Germany between Story, Electric Literature, Threepenny Review, The 1871 and 1935,” traces the involvement of German Missouri Review, The Quarterly, Partisan Review, The Jews in nonliberal political projects from the Massachusetts Review, and elsewhere. Essays and founding of the German Empire to the Nuremberg journalism have been published in The New York Laws. Most recently, he published articles on the Times, DoubleTake, The Nation, AGNI, Chicago Tribune, notions of responsibility and compromise in Boston Globe, and New Labor Forum, among others. conservative interwar politics in Germany and on Recipient of the Cornell Woolrich Fellowship in debates about adequately "democratic architecture" Creative Writing from Columbia University, the in the 1950s and 1960s in West Germany. SLC, 2016– Visiting Fellowship for Historical Research by Artists and Writers from the American Antiquarian Society, Jenn Nugent Dance and the DeWitt Wallace/Reader’s Digest Fellowship from the MacDowell Colony. SLC, 1997, 2002– Dennis Nurkse Writing (on leave spring semester) BA, Harvard. Author of 10 books of poetry (under “D. Philip Ording Mathematics Nurkse”), including Love in the Last Days BA, PhD, Columbia University. Research interests in (forthcoming from Knopf in fall 2017), The Border geometry, topology, and the intersection of Kingdom, Burnt Island, The Fall, The Rules of Paradise, mathematics with the arts. Mathematical consultant Leaving Xaia, Voices over Water, and most recently A to New York-based artists since 2003. Currently Night in Brooklyn; poems have appeared in The New writing a compendium of mathematical style to be Yorker, Atlantic Monthly, and in six editions of the published by Princeton University Press. SLC, 2014– Best American Poetry anthology series; recipient of a literature award from the American Academy of Arts Magdalena Ornstein-Sloan Psychology and Letters, a Guggenheim fellowship, a Whiting MA, Columbia University, Teachers College. MPH, Writers’ award, two National Endowment for the Arts Hunter College. PhD, CUNY, The Graduate Center. fellowships, two New York Foundation for the Arts During 15 years of work in the nonprofit sector and fellowships, and two awards from The Poetry 20 years as a personal health care advocate, Dr. Ornstein’s experience encompasses individual and public-policy advocacy related to the delivery of 180 Faculty long-term and end-of-life care. She is a Certified International Dissertation Research Fellowship. Brain Injury Specialist (CBIS) and has served on Conducted field esearr ch in Russia. Taught courses in advisory boards of the New York State Office for the comparative and American politics at City University Aging Family Caregiver Council, New York State of New York’s Hunter College and Baruch College. Caregiving and Respite Coalition, Caregiving Youth SLC, 2012– Research Collaborative, and American Association of Caregiving Youth. As a health geographer, her David Peritz Politics research focuses on the experiences of informal BA, . DPhil, Oxford University. family caregivers, specifically related to caregiver Special interests in democracy in conditions of interactions with the formal health care system. cultural diversity, social complexity and political Special interests include brain injury and qualitative dispersal, critical social theory, social contract methods. She teaches environmental psychology at theory, radical democratic thought, and the idea of SLC and food studies and public health at The New dispersed but integrated public spheres that create School in New York City. SLC, 2015– the social and institutional space for broad-based, direct participation in democratic deliberation and Marygrace O’Shea Visual and Studio Arts decision-making. Recipient of a Marshall BA, . MFA, Columbia University scholarship. Taught at Harvard University, Deep Graduate School of Film. Film and television writer Springs College, and Dartmouth College; visiting with credits that include NBC Universal/Wolf Films: scholar at Erasmus University in Rotterdam and the Law & Order: Special Victims Unit and Law & Order: London School of Economics. SLC, 2000– Criminal Intent; HBO: In Treatment, Season 2; Fox Television: Golden Parachutes/Thieves Like Us Kris Philipps Visual and Studio Arts (creator, writer, and executive producer for the BFA, Alfred University. MFA, University of South original TV series pilot) and Carnegie Heights Florida. Studied at Royal College of Art, London, and (creator, writer, and executive producer for the held Tamarind Master Printer fellowship; exhibited in program in development). Member, Writers Guild many national and international shows; solo of America East. Recent awards: 2013 winner, exhibitions include the Newark Museum, Staempfli Writer’s Guild of America East Screenplay Gallery, and Condeso/Lawler Gallery, New York. SLC, Reading Series; winner, New York Women In Film 1983– Screenplay Readings; winner, American Accolades Screenwriting Competition. Honors: Hudson Valley Gina Philogene Psychology Short Film Festival, Manhattan Short Film Festival, PhD, École des Hautes Études en Sciences Sociales, Austin Film Festival. SLC, 2013– Paris. Interests in social and cultural psychology, , race, and social identity, as Sayuri I. Oyama Japanese, Literature well as social representations. Author of From Black BA, Yale University. MA, PhD, University of to African American: A New Representation, The California–Berkeley. Special interests include Representations of the Social: Bridging Theoretical modern Japanese literature and film, ethnic and Traditions (with Kay Deaux), Racial Identity in other minorities in Japan, literature as translation, Context: The Legacy of Kenneth B. Clark, and the and translating literature. Recipient of a Japan forthcoming How the Right Made It Wrong: Names in Foundation fellowship; University of the Shadow of the Political Correctness. Recipient of California–Berkeley, Townsend Center for the several grants, including the National Science Humanities Fellowship; Japan Society for the Foundation and the American Psychological Promotion of Science Postdoctoral Fellowship. Association. Published several articles in SLC, 2002– professional journals and currently an associate editor of the Journal of Community and Applied Social Yekaterina Oziashvili Politics Psychology. SLC, 1998– BA, Barnard College. PhD, Graduate Center, City University of New York. Research and teaching Eddye Pierce-Young Music interests include ethnic conflict, ethnofederalism, BM, MM, University of Colorado. Additional study, political parties and electoral systems in Graz, Austria. Concert artist (soprano): national, multinational states, constitutional and electoral European, and Asian stages; national finalist in both engineering, American constitutional law, and, more the San Francisco Opera and Metropolitan Opera broadly, American political development. Recent competitions; recipient of awards and grants in the awards include Fulbright/IIE Dissertation Fieldwork fields of ocv al performance and music education. Fellowship and the Social Science Research Council’s SLC, 1989– FACULTY 181

Kevin Pilkington Writing Coordinator—Writing School of Painting & Sculpture, 2000. Recipient: 2011 BA, St. John’s University. MA, . Painters and Sculptors grant, Joan Mitchell Author of nine books of poetry, including: Spare Foundation; 2004 Artists’ Prize, Institute of Change (1997), which was the La Jolla Poets Press Contemporary Art, Boston; 2006 fellow, Civitella National Book Award winner; Ready to Eat the Sky Ranieri Foundation, Umbertide, Italy; NEA residency (2004); In the Eyes of a Dog (2009), which won the fellow, International Studio and Curatorial Program New York Book Festival Award; and The Unemployed (ISCP), New York; and workspace residency, Lower Man Who Became a Tree (2011), which was a Milt Manhattan Cultural Council (LMCC), New York. Kessler Poetry Book Award finalist. Poems have Recent solo exhibitions: Greenberg Van Doren Gallery, appeared in numerous magazines, including: The New York; Jack Tilton, New York; Galerie Mirchandani Harvard Review, Poetry, Ploughshares, Boston Review, + Steinrücke, Mumbai; and ICA Boston. Recent Columbia, North American Review. His debut novel, teaching positions include Yale University School of Summer Shares, was published in 2012; his collection Art, Williams College, Massachusetts College of Art & Where You Want to Be: New and Selected Poems, in Design, Rhode Island School of Design. SLC, 2015– 2015. SLC, 1991– Nick Rauh Mathematics Maika Pollack Art History BA, Harvard University. MFA, Columbia University. MA, Victoria Redel Writing PhD, Princeton University. Dissertation, “Odilon BA, Dartmouth College. MFA, Columbia University. Redon and the Color of the Unconscious,” looks at Author of three books of poetry and four books of psychology, painting, and theories of vision in fin-de- fiction, including her most ecr ent collection of siècle France. Her writing on contemporary art and stories, Make Me Do Things (2013), for which she was culture has been published by Artforum, The New awarded a 2014 Guggenheim fellowship for fiction. York Times, and Interview; museum exhibition critic Her novels include The Border of Truth (2007) and for The New York Observer (2011-15). Catalogue Loverboy (Graywolf, 2001/Harcourt, 2002), which essays include PS1 Contemporary Art Center and was awarded the 2001 S. Mariella Gable Novel Award Château de Nyon, Geneva. Co-founder and curator of and the 2002 Forward Silver Literary Fiction Prize Southfirst, a contemporary art space in and was chosen in 2001 as a Los Angeles Times Best Williamsburg, Brooklyn, that has presented Book. Loverboy was adapted for a feature film experimental exhibitions for more than a decade; her directed by Kevin Bacon. Swoon (University of shows have frequently been reviewed in The New Chicago Press, 2003), was a finalist orf the James York Times, The New Yorker, Art in America, ArtNews, Laughlin Award. Her work has been widely and Artforum, among other publications. Served anthologized and translated; her fiction, poetry, and since 2005 on the faculty for the Language and essays have appeared in numerous magazines and Thinking Program at Bard College. SLC, 2013– journals, including Granta.com. Harvard Review, The Quarterly, The Literarian, The New York Times, Los Mary A. Porter Anthropology Angeles Times, O, The Oprah Magazine, Elle, BOMB, BA, Manchester University. MA, PhD, University of More, and NOON. SLC, 1996– Washington. Ethnographic studies in East Africa, the United Kingdom, and the United States. Areas of Nelly Reifler Writing expertise include kinship theory, postcolonial BA, . MFA, Sarah Lawrence College. studies, feminist anthropology, queer anthropology, Author of a story collection, See Through, and a educational studies, and oral history. Current work novel, Elect H. Mouse State Judge; fiction in examines discourses of race, class, and kinship magazines and journals, including Story, Tweed's, embedded in foster care and adoption, both BOMB, McSweeney’s, Nerve, Black Book, The Milan domestically and transnationally. Co-author of Winds Review, and Lucky Peach, as well as in the of Change: Women in Northwest Commercial Fishing anthologies 110 Stories: New York Writes and author of articles on gender, kinship, education, After September 11, Lost Tribe: New Jewish Fiction and sexuality. Grants include Fulbright-Hays Doctoral from the Edge, Found Magazine’s Requiem for a Paper Research fellowship and Spencer fellowship. Bag, and No Near Exit: Writers Select Their Favorite Consultant, UNESCO. Associate Dean of the College, Work from Post Road Magazine. Fiction also read on 2007-12. SLC, 1992– NPR's Selected Shorts and as an Audible a la Carte edition. Recipient of a Henfield Prize, a ASU Kanishka Raja Visual and Studio Arts Explorations Prize, and a Rotunda Gallery Emerging BA, Hampshire College. MFA, Meadows School of the Curator grant for work with fiction and art. Writer in Arts, Southern Methodist University. Skowhegan 182 Faculty Residence, Western Michigan University, 2014; New York University. Areas of specialization: 20th- Recommendations editor at Post Road, 2010-present. century Italian women’s writings; modern Italian SLC, 2002– culture, history, and literature; fascism; Western medieval poetry and thought. Recipient of the Julie Janet Reilly Politics and Ruediger Flik Travel Grant, Sarah Lawrence AB, Duke University. MSt, Oxford University. MPhil and College, for summer research, 2008; Penfield PhD, City University of New York Graduate Center. fellowship, New York University, 2004; and Henry Research interests include migration, human rights, Mitchell MacCracken fellowship, New York University, citizenship, transnationalism, refugee protection 1998-2002. Publications: Nascita e morte della and asylum, humanitarian relief, and international massaia di Paola Masino e la questione del corpo law. Current research project examines the Liberian materno nel fascismo in Forum Italicum (Spring diaspora’s civic engagement both in the United 2003). Translations: The Other Place, by Barbara States and in the process of postconflict peace Serdakowski, and Salvation, by Amor Dekhis, in building in , paying particular attention to the Multicultural Literature in Contemporary Italy role of migration and state policies in influencing (editors Graziella Parati and Marie Orton, Fairleigh civic participation in each country. Worked at the Dickinson University Press, 2007). SLC, 2001-2002, United Nations High Commission for Refugees 2004, 2005– (UNHCR) in Turkey and Guinea and Save the Children Foundation in Ethiopia. SLC, 2012– Shahnaz Rouse Sociology BA, Kinnaird College, Pakistan. MA, Punjab University, Jacob Rhodebeck Music Pakistan. MS, PhD, University of Wisconsin-Madison. Special student, American University of Beirut, Sandra Robinson Asian Studies Lebanon. Academic specialization in historical BA, Wellesley College. PhD, University of Chicago. sociology, with emphasis on the mass media, gender, Special interest in South Asian cultures, religions, and political economy. Author of Shifting Body and literatures. Two Fulbright awards for field Politics: Gender/Nation/State, 2004; co-editor, research in India. Articles, papers, and poems appear Situating Globalization: Views from Egypt, 2000; in international venues; ethnographic photographs contributor to books and journals on South Asia and exhibited. Chair of the South Asia Council and the Middle East. Visiting faculty, University of Hawaii member of the board of directors of the Association at Manoa and American University in Cairo. Member, for Asian Studies; administrative board of Harvard- editorial advisory board, Contributions to Indian Radcliffe College; senior fellow, Center for the Sociology; past member, editorial committee, Middle Humanities, Wesleyan University; delegate to the East Research and Information Project. Past United Nations summit on global poverty, held in consultant to the Middle East and North Africa Copenhagen; group leader for the Experiment in Program of the Social Science Research Council, as International Living; national selection boards for well as to the Population Council West Asia and North institutional Fulbright grants. SLC, 1990– Africa Office (Cairo). Recipient of grants from Patrick Romano Music Fulbright-Hays Foundation, Social Science Research BM, MM, . Currently choral Council, American Institute of Pakistan Studies, and director at , Manhattan Council on American Overseas Research Centers. SLC, School of Music Preparatory Division. Member of the 1987– faculty of Perlman Summer Music Program. An Sara Rudner Dance established tenor soloist, specializing in the Baroque BA, Barnard College. MFA, Bennington College. Dancer and classical repertoire; performed with Waverly and choreographer; participated in the development Consort, American Bach Soloists, Bethlehem Bach and performance of Twyla Tharp’s Choir, and Rifkin Bach Ensemble; guest soloist at repertory; founded and directed the Sara Rudner Marlboro Music Festival, Festival, and Performance Ensemble. Recent choreographic University of Maryland Handel Festival; recorded the projects include Dancing-on-View, one of a series of Bach B minor Mass with American Bach Soloists, the dance marathons, and Heartbeat, a fusion of Mozart Requiem with Amor Artis Choir and Orchestra, technology and dance. Currently a member of and the Bach St. John Passion with Smithsonian Ersaloly Mameraem, a dancers’ consortium; past Chamber Players. SLC, 1999– collaborations have included Mikhail Baryshnikov, Tristana Rorandelli Italian, Literature Dana Reitz, and Christopher Janney. Choreographer BA (Magna cum laude), Università degli Studi di for theatre and opera productions at the Public Firenze, Florence, Italy. MA, PhD (with distinction), Theater, Salzburg Festival, Santa Fe Opera, and Paris FACULTY 183

Opéra. Awards include a Bessie, a John Simon Munich’s Münchener Biennale; provided musical Guggenheim Memorial fellowship, a Dance Magazine direction for presentations ranging from an all-star award, and support from the National Endowment tribute to at Aaron Davis Hall (New for the Arts and the New York State Council on the York) to in Helsinki and Savonlinna, Arts. SLC, 1999– Moscow, and Tallinn. Co-founder of Opera Ebony, a historic African American opera company based in Efeya Ifadayo M Sampson Dance New York; participated in touring performances of BFA, Temple University. MFA, Sarah Lawrence College. Opera Ebony’s acclaimed Black Heritage concert Dancer, educator, and performer. Honed her talent as series and served as its conductor over the course of a member of Moving With the Spirit, her parent’s its international run in Canada, Iceland, and African diasporic dance company for children; Switzerland. SLC, 1996– continued her formal training at Brooklyn’s Phillipa Schuyler School. Recipient of a full scholarship to the Kristin Zahra Sands Religion Charles Moore Dance Theatre, under the direction of BA, The New School. MA, PhD, New York University. Ella Thompson Moore, and apprenticeships with Special interests include Sufism, Qur’anic exegesis, Ronald K. Brown/Evidence and Urban Bush Women. religion and media, and political theology. Author Work presented as a part of Harlem Stage’s E-Moves. of Sufi ommentC aries on the Qur’an in Classical Served as a teaching artist for various arts education Islam and numerous articles on mystical exegesis. programs, including Casita Maria Center for Arts Translator of Abu’l-Qasim al-Qushayri’s Subtle Education and DreamYard. Currently a member of Allusions (Part I) for The Great Commentaries on the many performance nation/families, where she is Holy Qur’an Project. SLC, 2003– immersed in her study and performance of Afro- Haitian, Afro-Cuban, Yoruba, and various West Nyoman Saptanyana Music African and contemporary modern dance and music forms. Those venues include Ase Dance Theatre Barbara Schecter Director, Graduate Program in Collective, Movement for the Urban Village, Charles Child Development/Psychology—Psychology Moore Dance Theatre, and The Ring Shout Music BA, Sarah Lawrence College. MA, PhD, Teachers Ensemble. SLC, 2014– College, Columbia University. Developmental psychologist with special interests in cultural Misael Sanchez Filmmaking and Moving Image Arts psychology, developmental theories, and language BFA, New York University. Certificate in Producing, development; author and researcher on cultural The New School. Co-founder and director of issues in development and metaphoric thinking in instruction at The International Film Institute of New children. SLC, 1985– York, currently working in collaboration with Sarah Carsten Schmidt Music (on leave fall semester) Lawrence College. Recent production credits include a feature-length documentary, Last Call (director Künstlerische Abschlussprüfung “mit Auszeichnung,” and cinematographer), now in post-production and Folkwang-Hochschule, Essen, Germany. MM, Artist producer on the feature-length narrative, Central Diploma, Indiana University. MMA, DMA, Yale Avenue, scheduled to cast Marisa Tomei and Lorraine University. Extensive performance and broadcast Bracco. A book-in-progress on cinematography activities as soloist, chamber musician, and soloist lighting techniques is titled Lighting Tricks and with orchestras throughout Europe, North America, ShortCuts. Staff member, faculty member, and head and Japan; numerous master classes, lectures, and of the cinematography concentration at Columbia workshops at educational and research institutions. University’s Graduate Film Division, where he Special interests include: keyboard literature and supervises students on thesis productions. Past work performance practices; early keyboard instruments; includes four one-hour specials on Latinos in the the music of Ernst Krenek; the relationship of media for network television, short documentary performance, analysis, hermeneutics, and recent projects, films, music videos, and industrials. SLC, gender studies; and the interaction of poetry and 2009– music in song repertoire. Member, artistic board, Volte Foundation for Chamber Music, the Wayne Sanders Music Netherlands; artistic director, International Schubert BM, Roosevelt University. Voice teacher, coach, and Festival 1997; research fellow, Newberry Library; pianist; collaborated and performed with Kathleen fellow, German National Scholarship Foundation. SLC, Battle, , Florence Quivar, and the late 1998– William Warfield; onsultc ant to the Houston Grand Opera, the Savonlinna Opera Festival (Finland), and 184 Faculty Samuel B. Seigle Classics, Greek, Latin, Literature William Shullenberger Literature BA, University of Pittsburgh. AM, Harvard University. BA, Yale University. MA, PhD, University of Classical philologist; scholar of Greek dance, Greek Massachusetts. Special interests in Milton, 17th- and Roman poetic structure, linguistics, ancient century English literature, English Romanticism, religions and mythology, political and social African literature, theology and poetics, and conventions of ancient cultures and their psychoanalytic criticism. Author of Lady in the relationship to the contemporary world; president Labyrinth: Milton’s ‘Comus’ as Initiation; co-author (1973-1975) and censor (1977-1993) of New York with Bonnie Shullenberger of Africa Time: Two Classical Club. SLC, 1964– Scholars’ Seasons in Uganda; essays published in Milton Studies, Renaissance Drama, and other Judith P. Serafini-Sauli Italian, Literature (on leave journals and collections. Senior Fulbright lecturer at spring semester) Makerere University, Uganda, 1992-1994; director of BA, Sarah Lawrence College; PhD, Johns Hopkins NEH Summer Seminars on the classical and the University. Special interest in 14th- and 20th-century modern epic, 1996 and 1999. SLC, 1982– Italian literature. Publications include: Ameto by Giovanni Boccaccio, translation; Giovanni Boccaccio, Mark R. Shulman History Twayne World Authors series; Clizia a Sarah BA, Yale University. MSt, Oxford University. PhD, Lawrence, Studi italiani; The Pleasures of Reading: University of California–Berkeley. JD, Columbia Boccaccio’s Decameron and Female Literacy, MLN. University. Served as editor-in-chief of the Journal of Recipient of a Fulbright fellowship, Lipkin Award for Transnational Law at Columbia and received the Excellence in Teaching (SLC), and Esther Berger Prize for international law. Served as Raushenbush Chair in the Humanities (SLC). SLC, associate dean for global admissions at New York 1981– University and assistant dean for Graduate Programs & International Affairs at Pace Law School. Created Ramin Serry Visual and Studio Arts, Filmmaking and and directed the Worldwide Security Program at the Moving Image Arts EastWest Institute and practiced law at Debevoise & BA, University of Illinois. MFA, Columbia University Plimpton. A long-time leader of the Association of School of the Arts. Screenwriter, director; wrote and the Bar of the City of New York, he currently chairs directed two feature films, Maryam (2002) the Committee on Asian Affairs and serves on the and Loveless (2011). Serves on the screenwriting Council on International Affairs and the Task Force faculty of Columbia University’s School of the Arts on National Security and the Rule of Law. He and of Hunter College. Awards include: Golden Reel previously chaired the City Bar’s Committee on Award for Best Film, The Tiburon International Film International Human Rights and the Council on Festival; and Emerging Filmmaker Award, St. Louis International Affairs. He has taught the laws of war International Film Festival. SLC, 2011– at Columbia Law School; military history at Yale, the Air War College, and Columbia (SIPA); and human Vijay Seshadri Writing rights at Sarah Lawrence and Hunter colleges. He BA, Oberlin College. MFA, Columbia University. Author has published widely in the fields of history, law, and of Wild Kingdom, The Long Meadow, The international affairs. His books include The Laws of Disappearances (New and Selected Poems; Harper War: Constraints on Warfare in Western Collins India), and 3 Sections (September, 2013); World (1994), Navalism and the Emergence of former editor at The New Yorker; essayist and book American Sea Power (1995), An Admiral’s reviewer in The New Yorker, The New York Times Book Yarn (1999), and The Imperial Presidency and the Review, The Threepenny Review, The American Consequences of 9/11 (2007). His articles have Scholar, and various literary quarterlies. Recipient of appeared in the Columbia Journal of Transnational the 2014 for Poetry, James Laughlin Law, Journal of National Security & Policy, Fordham Prize of the Academy of American Poets, MacDowell Law Review, Journal of Military History, Intelligence Colony’s Fellowship for Distinguished Poetic and National Security, and The New York Times, Achievement, The Paris Review’s Bernard F. Conners among others. SLC, 2009– Long Poem Prize; grants from New York Foundation for the Arts, National Endowment for the Arts, John Michael Siff Computer Science Simon Guggenheim Memorial Foundation; and area BA, BSE., MSE, University of Pennsylvania. PhD, studies fellowships from Columbia University. SLC, University of Wisconsin-Madison. Special interests in 1998– programming languages, cryptology, and software FACULTY 185 engineering; author of research papers on interplay in theoretical condensed-matter physics (models of between type theory and software engineering. SLC, superfluid systems) and physics teaching. Taught at 1999– Middlebury College, Wellesley College, and Eugene Lang College at The New School University. SLC, Joan Silber Writing (On leave fall semester) 2003– BA, Sarah Lawrence College. MA, New York University. Author of two story collections, Ideas of Heaven Paul Singh Dance (finalist orf the National Book Award and the Story BFA, University of Illinois. Danced for Gerald Casel, Prize) and In My Other Life, and of four novels, Fools Erica Essner, Risa Jaroslow, Douglas Dunn, (National Book Award finalist and nominated for the Christopher Williams, and Will Rawls and was PEN/Faulkner Award), The Size of the World, Lucky Us, featured in the inaugural cast of Punchdrunk In the City, and Household Words (winner of the PEN/ Theatre Company’s American debut of Sleep No More. Hemingway Award); short stories anthologized in The In 2014, he was a dancer in Peter Sellars’ opera, The Scribner Anthology of Contemporary Short Fiction, Indian Queen. Most recently, he danced for Peter The Story Behind the Story, The O. Henry Prize Stories Pleyer in a large-scale improvisation work in Berlin. (2007 and 2003), and two Pushcart Prize collections. Work presented at the Judson Church, New York Live Recipient of a literature award from the American Arts, Joe’s Pub, Dixon Place, and La Mama E.T.C; in Academy of Arts and Letters and grants from 2004, his solo piece, Stutter, was presented at the National Endowment for the Arts and New York Kennedy Center in Washington, DC. Taught contact Foundation for the Arts. SLC, 1985– improvisation around the world during CI training festivals in Israel, Spain, Germany, France, Finland, Lake Simons Theatre and India. In NYC, he continues dancing and BFA, University of North Carolina School of the Arts. choreographing for his company, Singh & Dance. SLC, École Jacques Lecoq, Paris. Theatre work includes 2015– designing sets, puppets, and costumes and directing, choreographing, and performing. Drawn to David Sivesind Psychology incorporating puppetry, movement, and live music BA, University of Northern Iowa. Addiction Studies into the theatre, shows are frequently made from Graduate Certificate, University of Minnesota. MA, the ground up. Work seen in many New York PhD, New School for Social Research. Assistant theatres, including HERE Theatre, La Mama E.S.T., P.S. professor of psychology, Mount Sinai School of 122, St. Mark’s Church, Dixon Place, and One Arm Red. Medicine. Clinical psychologist with special interests Past collaborative work includes Electric in addiction, HIV treatment, chronic health condition Bathing, Wind Set-up, White Elephant, Alice’s identity adjustment, LGBT issues, and integrated Adventures in Wonderland, What’s Inside the Egg?, psychology practice in health-care settings. SLC, How I Fixed My Engine With Rose Water, and Etiquette 2013– Unraveled. As an artistic associate with the Hip Pocket Theatre in Fort Worth, Texas, designed sets Lyde Cullen Sizer History and puppets for a multitude of productions over the BA, Yale University. MA, PhD, Brown University. years, presented seven collaborative theatre pieces, Special interests include the political work of performed in more than 30 world premieres, and literature, especially around questions of gender and launched its Cowtown Puppetry Festival. Puppet/ race; US cultural and intellectual history of the 19th mask designer for New York Shakespeare Festival, and early 20th centuries; and the social and cultural Theatre Company, My Brightest Diamond, history of the US Civil War. Authored The Political Division 13, Kristin Marting, Doug Elkins, Cori Work of Northern Women Writers and the American Orlinghouse, Daniel Rigazzi, and various universities; Civil War, 1850-1872, which won the Avery O. Craven puppetry associate for 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 Dean of the College—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 Record Executives and Other True Tales from a 186 Faculty Drummer’s Life (Broadway Books, 2004); contributor was published by Farrar, Straus and Giroux in 2002. to The New York Times; commentator for National Recent plays are Alabaster City, commissioned by Public Radio’s Morning Edition; drummer for the South Coast Rep, and Died for Your Sins. Minneapolis-based band, Semisonic. SLC, 2013– Former literary manager of Ensemble Studio Theatre; fellow, the Edward Albee Foundation; member, Fredric Smoler Literature, History (on leave spring Dramatist Guild. SLC, 1991– semester) BA, Sarah Lawrence College. MA, MPhil, PhD, Robin Starbuck Filmmaking and Moving Image Arts Columbia University. Central interest in European BA, . MFA, School of the Art Institute of history and culture, with special emphasis on Chicago. Postgraduate certificate in film/video military history and literature. Writes regularly for editing and postproduction, Tisch School of the Arts, First of the Month and Dissent; occasional Film Program, New York University. New York-based contributor to The Nation, The Observer (London); experimental filmmaker and animator. Work in former editor, Audacity; contributing editor, experimental video, installation art, animation, and American Heritage Magazine. SLC, 1987– media design for theatre exhibited in museums, cultural centers, galleries, and festivals in the United Sungrai Sohn Music (Violin and viola, director of States, Europe, and South America. Recipient of chamber music, Orchestra Projects conductor) multiple awards and fellowships for artist BA, Peabody Institute of the Johns Hopkins residencies, both nationally and internationally. Her University, Peabody Conservatory. MFA, Sarah studio orientation is in experimental film, animation, Lawrence College. Concert violinist distinguished for and intermedia installation. Current projects include international performances in the United States, a documentary film on the Apsaalooke Tribe of Europe, Asia, Africa, and Canada. Appeared as soloist Montana, experimental film projects for and chamber musician with numerous ensembles, installations, and the ongoing production of video including New York Pro Arte Chamber Orchestra, and animation projections for theatre and opera in Laurentian String Quartet, and Amasi Trio. Recipient New York and Europe. A full-time professor of of the Artist International Award, grand prize winner experimental film and animation, she has been a of the Korean National Competition in violin and visiting artist-in-residence at several studios and chamber music. SLC, 2017– institutions, including the Media Technology Center of the Georgia Institute of Technology in Atlanta and Michael Spano Visual and Studio Arts the Experimental Sound Studio in Chicago. SLC, 2014– BA, Queens College. MFA Yale University. Solo and group shows at the Museum of Modern Art, Fogg Art Joel Sternfeld The Noble Foundation Chair in Art and Museum, Cleveland Museum of Art, Memphis Brooks Cultural History—Visual and Studio Arts Museum of Art, Brooklyn Museum of Art, and BA, Dartmouth College. Photographer/artist with National Portrait Gallery. Works represented in the exhibitions at Museum of Modern Art, Art Institute of permanent collections of the Whitney Museum of Chicago, and San Francisco Museum of Modern Art. American Art, San Francisco Museum of Modern Art, Recipient of two Guggenheim fellowships and a Prix St. Louis Art Museum, Baltimore Museum of Art, de Rome. Author of American Prospects, On This Museum of Fine Art in Boston, Los Angeles County Site, Stranger Passing, and 10 other books. SLC, Museum of Art, Princeton Museum of Art, Art 1985– Institute of Chicago, and Museum of Modern Art in New York. Recipient of grants and fellowships from Stew Stewart Theatre New York Foundation for the Arts, Camera Works, CAPS, Art Matters, and the Guggenheim Foundation. Frederick Michael Strype Margot C. Bogert Author of Time Frames: City Pictures and Auto Distinguished Service Chair —Filmmaking and Portraits. SLC, 1999– Moving Image Arts BA, . MFA, Columbia University Stuart Spencer Theatre School of the Arts. Postgraduate study: American BA, . MFA, Sarah Lawrence Film Institute, New York University Tisch School of College. Author of numerous plays performed in New the Arts. Screenwriter, producer, director. Recent York and around the country, including Resident awards, grants, festivals: Grand Prize, Nantucket Film Alien (Broadway Play Publishing). Other plays include Festival, Tony Cox Award in Screenwriting; Nantucket In the Western Garden (Broadway Play Publishing), Screenwriters Colony; World Jewish Film Festival, Blue Stars (Best American Short Plays of 1993-94), Askelon, Israel; Tehran International Film Festival; and Sudden Devotion (Broadway Play Publishing). A Berlin Film Festival Shorts; Uppsala Sweden Film playwriting textbook, The Playwright’s Guidebook, Festival; USA Film Festival; Washington (DC) Jewish FACULTY 187

Film Festival; Los Angeles International Children’s Nadeen M. Thomas History Film Festival; Temecula Valley International Film BA, University of Pennsylvania. MSEd, Hunter College, Festival “Best of the Fest”; Portugal Film Festival CUNY. PhD, CUNY Graduate Center. Research interests Press Award; Fade In Magazine Award/Best Short include immigration, race, ethnicity, education Screenplay; Angelus Film Festival Triumph Award; systems, and nationalism in the United States and Austin Film Festival Screenwriting Award; Heartland Europe. Also interested in the relationship between Film Festival Crystal Heart Award; New Line Cinema the built environment and social organization and Filmmaker Development Award; Hamptons how the layout of urban areas creates spaces of International Film Festival; Schomburg Cultural belonging and nonbelonging. Recently presented Grants. Raindance Pictures: projects developed for research on the French antiveiling laws and the Columbia/Tristar/Sony, Lifetime, MTM Productions, reinterpretation of public and private spaces, the Family Channel, FX, Alliance/ Atlantis, Capella Films, Parisian public transportation system and its role in Turman-Foster Productions, James Manos structuring geographic and social mobility, and the Productions, FX, Avenue Pictures. SLC, 2003– Parisian botanical gardens as an agent and symbol of national identity. SLC, 2015– Rachelle Sussman Rumph History Clifford Thompson Writing Sterling Swann Theatre BA, Oberlin College. Essayist and creative nonfiction BA, . Postgraduate training at London writer; author of the collection Love for Sale and Academy of Music and Dramatic Art (LAMDA), at Other Essays and the memoir Twin of Blackness, as Sonia Moore Studio, and with David Kaplan (author, well as essays/articles published in magazines, Five Approaches to Acting). President and artistic journals, and anthologies. Recipient of a Whiting director, Cygnet Productions, National Equity Theatre Writers’ Award. SLC, 2016– for Young Audiences Company; leading performer, Boston Shakespeare Company; guest faculty at Alice Truax Writing Storm King School, Western Connecticut State BA, Vassar College. MA, Middlebury College. Editor at University, and at Vassar College; certified instructor, The New Yorker, 1992-2002; book editor, Society of American Fight Directors (SAFD); winner of 2001-present. Book reviews have appeared in The the Society of American Fight Directors’ 2006 Patrick New York Times Book Review, The New Yorker, Vogue, Craen award; designated practitioner, Stough and The New York Review of Books. Edited books Institute of Breathing Coordination; certified eachert , include Random Family by Adrian Nicole LeBlanc, Alexander Technique. SLC, 1991– Mostly True by Molly O’Neill, Aftermath by Joel Meyerowitz, The Surrender by Toni Bentley, Send by Philip Swoboda History William Schwalbe and David Shipley, King’s Gambit by BA, Wesleyan University. MA, MPhil, PhD, Columbia Paul Hoffman, and Violent Partners by Linda Mills. University. Special interest in the religious and SLC, 2004– intellectual history of early modern Europe and in the history of Eastern Europe, particularly Russia and Guinevere Turner Filmmaking and Moving Image Poland. Author of articles on early 20th-century Arts Russian philosophy and religious thought; served on Screenwriter, director, and actor working in film and the executive committee of the Mid-Atlantic Slavic TV since her 1994 debut film, Go Fish. Teamed up with Conference. Previously taught at Columbia director Mary Harron to write the films American University, Hunter College, Lafayette College, Psycho and The Notorious Bettie Page. A writer and University of Wisconsin–Madison. SLC, 2004– story editor on Showtime’s The L Word and also played a recurring character on that show. Kenneth Tam Visual and Studio Arts Additional acting roles include parts in The Watermelon Woman, Chasing Amy, Dogma, American Mia Theodoratus Music (Celtic Harp) Psycho, and Treasure Island. Lectured and conducted BFA, University of Texas–Austin. MFA, California master classes in screenwriting at California Institute of the Arts. Teacher, Irish Arts Center; Institute for the Arts, University of Southern president, Metro Harp Chapter of the American Harp California, California College of the Arts, The Society; founder, NYC Harp Orchestra. Performed at American Film Institute, and Cornell University. Lincoln Center Outdoors, Congressional Building by Ongoing screenwriting mentor and professional invitation of President Obama, Irish Arts Center (NY), advisor for programs that include The Sundance and Carnegie Hall. SLC, 2017– Screenwriting Lab, The Sundance Native Labs, and The Sundance Native Lab. Wrote and directed five 188 Faculty short films, two of which premiered at the Sundance experimental venue called Ulla’s House, which has Film Festival. Her latest film, Kill Your Ego, chronicles supported the work of more than 50 diverse artists the journey of the women who killed for Charles at all stages of their careers. Taught dance at Manson, starting from the beginning of their long DeSales University and Temple University. Maintains prison terms, and will be directed by Mary Harron. a private practice teaching Pilates and dance SLC, 2016- conditioning and is a long-term student of anatomist Irene Dowd. SLC 2015– Megan Ulmert French, Film History BA, . MA, MPhil, PhD, New York Leihua Weng Chinese University. Dissertation on Jean Vigo and avant-garde BA, Zhejiang University, China. MA, Peking University, documentary films in rF ance in the 1920s and early China. PhD, University of South Carolina. Research 1930s. Research interests include: French cinema, interests include reception of classics in modern and European avant-garde visual culture during the contemporary China, nationalist discourses, and interwar period, 19th-century French literature, gender issues. Currently working on a book draft epistolary novels; francophone North America: issues entitled, The Straussian Reception of Plato in Modern of identity and narration in French Canadian China: Plato, Confucius, and Mao in Cultural Politics, literature, Acadian history and culture, language to be published by Brill. Experienced in teaching politics and literature of Louisiana. SLC, 2014– modern and contemporary Chinese poetry and Chinese classical literature. SLC, 2016– Neelam Vaswani Theatre Kathy Westwater Dance Marina Vitkin Philosophy (on leave fall semester) BA, College of William and Mary. MFA, Sarah PhD, University of Toronto. Special interests in Hegel Lawrence College. Choreographer and dancer; and his predecessors (modern philosophy) and choreography presented at Dance Theater Workshop, successors (19th- and 20th-century continental Brooklyn Museum of Art, and PS 122, among other philosophy), post-Hegelian Russian philosophy, and venues, and archived in the Franklin Furnace philosophical problems of intellectual diversity and and the Walker Arts Center Mediatheque Archive. pluralistic understanding. SLC, 2004– Recipient of awards from New York Foundation for the Arts and Djerassi Resident Artists Program and of Ilja Wachs Ilja Wachs Chair in Outstanding Teaching commissions from Dance Theater Workshop, and Donning—Literature Danspace Project at St. Mark’s Church, and Summer BA, Columbia College. Special interest in 19th-century Stage’s Dance Festival. Previously a guest teacher at European and English fiction, with emphasis on Bennington College, 92nd Street Y, and Trisha Brown psychological and sociological relationships as Studio. Published writings include “Technology and revealed in works of Dickens, Tolstoy, Dostoevski, the Body,” an interview with Merce Cunningham in Balzac, Stendhal, James, Flaubert, and others. Dean the Movement Research Journal Millennial Issue, of the College, 1980-85. SLC, 1965– which she guest edited. SLC, 2001–

Sasha Welsh Dance Kenneth White Film History BA, Swarthmore College. MFA, Temple University. BFA, . PhD, Stanford University. PDDS, Laban Centre, London. Choreographer whose Critical Studies and Studio, Whitney Museum of work explores states of awareness, the potential of American Art Independent Study Program [ISP]. memory and imagination, and the limitations and Research situated at the juncture of modern and possibilities of the human body. Her choreography contemporary art history; avant-garde and has been seen in venues such as Movement Research experimental film and video; media and at Judson Church, Dance Conversations at the , communication studies; history of science and Dixon Place, AUNTS, Performance Mix at Joyce Soho, technology; and discourses of feminism, sexuality, INOVA galleries (University of Wisconsin–Milwaukee), and gender. Editor of the book Carolee Schneemann: Philadelphia Live Arts Festival (City Paper Pick of the Unforgivable (Black Dog, 2015) and, with Annette Fringe in 2004), RAW Material at Dance New Michelson, October File: Michael Snow (MIT Press, Amsterdam, and Studio 303 in Montreal. Her forthcoming). Published in Art Journal, Grey Room, company, Victory to Others, presented its first ull-f Screen, Public, The Third Rail, among other length concert at Triskelion Arts in March 2009. periodicals and books. Editor of Millennium Film Performed with Laurie Berg and Megan Byrne, Noriko Journal. Completing two book projects: Libidinal Kato (Japan), Alison D’Amato, Darla Stanley, Merián Engineers: Cybernetics and Its Discontents and The Soto, George Alley, and many others. Curated Hyperventilation Syndrome. SLC 2016– performances in New York since 2006, running an FACULTY 189

Sarah Wilcox Sociology (on leave spring semester) Hong Kong Arts Festival, City of London Festival, BA, Wesleyan University. MA, PhD, University of Deutches Mozartfest in Bavaria, Kuhmo Chamber Pennsylvania. Areas of expertise include medical Music Festival in Finland, Mostly Mozart Festival in sociology, the sociology of science and knowledge, New York, and Aspen Music Festival in Colorado. gender and sexuality, and the mass media; special Former member of the Shanghai and Chester String interests in interactions among experts, laypersons, Quartets and the Da Capo Chamber Players. Currently and social movements. Recent new courses in artistic director of the Richmond-based Chamber disability studies and the politics of health. Author of Music Society of Central Virginia. Teaches cello and articles on lay knowledge and expertise and on chamber music at Columbia University in New York media coverage of biological ideas about sexuality. City and faculty member of the Bennington Chamber SLC, 2005– Music Conference in Vermont. SLC, 2017–

Sara Wilford Psychology Matthew Wilson Music (Percussion) BA, Sarah Lawrence College. MSEd, EdM, Bank Street New York-based drummer, Grammy nominee, College of Education. Former early childhood and celebrated jazz artist universally recognized for his public elementary school teacher; keynote speaker musical and melodic drumming style, as well as and workshop leader for seminars and conferences being a gifted composer, bandleader, producer, and on early childhood education; former member, teaching artist. Performed at the White House as editorial advisory board, Child magazine; contributor part of an all-star jazz group for a state dinner to Scholastic, Inc. publications; author, Tough Topics: concert hosted by President Obama. Featured on the How to Use Books in Talking with Children About Life covers of Downbeat and JazzTimes magazines in Issues and Problems, What You Need to Know When November 2009. Voted #1 Rising Star Drummer in the Your Child Is Learning to Read, and Nurturing Young Downbeat Critic’s Poll. Committed to jazz education, Children’s Disposition to Learn. Roy E. Larsen Chair in he travels the world with the Matt Wilson Quartet to Psychology (2001-2006). SLC, 1982– inspire children. SLC, 2017–

Fiona Wilson Literature Heather Winters Filmmaking and Moving Image Arts MA, University of Glasgow. MA, PhD, New York BA, Sarah Lawrence College. Studied at University of University. Scholar and poet. Special interests in London, School of Visual Arts. Executive producer/ 18th- to 21st-century British and Irish literature, producer/director/writer. Two-time Sundance- ecocriticism, poetry and poetics, and studies in winning and Oscar-nominated executive producer. Scottish culture. Recipient of fellowships and awards Credits include: Super Size Me;TWO: The Story of from the Institute of the Advanced Study of the Roman & Nyro; The Rest I Make Up, Anywhere, u.s.a.; Humanities, University of Edinburgh (2012), Keats- Class Act; Convention; Google Me; Thundercats; Shelley Association of America (2009), Hawthornden Silverhawks; The Comic Strip; MTV’s Real World, and International Retreat for Writers (2008), Center for Atom. Select project awards include: 2014 HBO Book Arts, New York (2007), and Scottish Poetry Hometown Hero Award; 2014 Best Documentary, Library (2006). Former chair of the Scottish Nashville Film Festival; 2009 Sarah Lawrence College Literature Discussion Group of the Modern Language Alumnae/i Citation for Achievement; 2009 Telly® Association. Author of essays published in Teaching Award; 2008 Special Jury Prize, Sundance Film Robert Louis Stevenson (MLA, 2013), Edinburgh Festival; 2006 Best Documentary, Rhode Island Companion to James Hogg (Edinburgh University International Film Festival; 2006 Best Feature, Press, 2012), Romanticism’s Debatable Lands Artivist Film Festival; 2004 Best Director, Sundance (Palgrave, 2007), Keats-Shelley Journal (2005), and Film Festival; 2004 Academy Award® Nominee, Best elsewhere. Poetry published in Literary Imagination, Documentary; 2004 Telly® Award; 2003 Platinum Best Edinburgh Review, From Glasgow to Saturn, Poetry in Show, AURORA Award; 2000 , Chicago Review, Literary Review. SLC, 2008– International Film Festival; 2000 Creative Excellence Award, US International Film and Video Festival. James Wilson Music (Cello) Affiliations include oducPr ers Guild of America, BM, University of Michigan. MM, The Peabody International Documentary Association, IFP, Women Institute of The . Recitalist in Film. Founder, White Dock and Studio On Hudson and chamber musician, member of the Orpheus production companies. SLC, 2011– Chamber Orchestra; appeared at Lincoln Center, Carnegie Hall, Kennedy Center, Musikverein in Komozi Woodard History Vienna, Koelner Philharmonie, National Concert Hall BA, . MA, PhD, University of in Taipei, and Sydney Opera House. Performed at the Pennsylvania. Special interests in African American 190 Faculty history, politics, and culture, emphasizing the Black nominations; national tours, Broadway, Off Freedom Movement, women in the Black Revolt, US Broadway, regional theatre, and television. SLC, urban and ethnic history, public policy and persistent 1989– poverty, oral history, and the experience of anti- colonial movements. Author of A Nation Within a Kate Zambreno Writing Nation: Amiri Baraka and Black Power Politics and Author of two novels, Green Girl (Harper Perennial) reviews, chapters, and essays in journals, and O Fallen Angel (Harper Perennial, reissued 2017), anthologies, and encyclopedia. Editor, The Black and the critical memoir, Heroines (Semiotext(e)'s Power Movement, Part I: Amiri Baraka, From Black Active Agents). Currently at work on a series of Arts to Black Radicalism; Freedom North; books about time, memory, and the persistence of Groundwork; Want to Start a Revolution?; and Women art, which includes Book of Mutter (Semiotext(e)'s in the Black Freedom Struggle. Reviewer for Native Agents, 2017), as well as Drifts (to be American Council of Learned Societies; adviser to the published by Harper Perennial in fall 2017). Also Algebra Project and the PBS documentaries, Eyes on teaches in the writing programs at Columbia the Prize II and America’s War on Poverty; board of University. SLC, 2013– directors, Urban History Association. SLC, 1989–

John A. Yannelli Scholar in Music—Music, Dance Francine Zerfas Theatre BPh, Thomas Jefferson College, University of BFA, New York University, Tisch School of the Arts. Michigan. MFA, Sarah Lawrence College. Composer, MFA, New School University. Teacher of voice and innovator in the fields of electronic music and music speech at New York University’s Playwrights for theatre and dance, composer of traditional and Horizons Theater School and Atlantic Theater Acting experimental works for all media, specialist in School; adjunct professor at Brooklyn College. improvisational techniques, and director of the Conducted Fitzmaurice Voicework™ and Shakespeare Sarah Lawrence Improvisational Ensemble. Toured workshops in Melbourne, Australia (2005), and at nationally with the United Stage theatre company the Centro Em Movimento in Lisbon, Portugal (1997, and conceived of, and introduced the use of, 1998), where she also coached Eugene O’Neill’s electronic music for the productions. Freelance Mourning Becomes Electra. Served as vocal and engineer; music published by consultant on 666 TV series and was Soundspell Productions. SLC, 1984– vocal coach for The Play What I Wrote (directed by ) on Broadway, Me Myself and I by Mali Yin Chemistry Edward Albee (directed by Emily Mann) at BS, Shaanxi Normal University, China. PhD, Temple Playwrights Horizons Theater, and The Family University. Postdoctoral research associate, Weekend by Beth Henley (directed by Jonathan Michigan State University. Researcher and author of Demme) for Manhattan Class Company Theater, as articles in areas of inorganic, organic, and protein well as Stanley, an Off-Off Broadway production chemistry; special interests in synthesis and (directed by Pulitzer Prize finalist Lisa D’Amour) at structure determination of inorganic and HERE Arts Center. Master teacher of Chuck Jones organometallic compounds by X-ray diffraction and Vocal Production and an associate teacher of various spectroscopic techniques, protein Catherine Fitzmaurice Voicework and Level I, Alba crystallography, environmental chemistry, and Emoting Certification. Studied yoga in New Dehli, material science. SLC, 1996– India; trained extensively in ballet and modern dance and performed with various independent Mia Yoo Theatre choreographers and dance companies in Minneapolis. Co-founder of Tiny Mythic Theatre Thomas Young Music Company in New York City and both an actor and a Cleveland Music School Settlement. Cleveland writer for the company. Other past performances Institute of Music. Singer, actor, and conductor; include leading roles in A Dream Play by August founder and conductor, Los Angeles Vocal Ensemble; Stringberg, When We Dead Awaken by Henrick Ibsen, principal with San Francisco Opera, Royal Opera Apocrypha by Travis Preston and Royston Coppenger House, Opéra La Monnaie, Netherlands Opera, Opéra at the Cucaracha Theatre, Two Small Bodies at the de Lyon, New York City Opera, and Houston Grand Harold Clurman Theatre, The Eagle Has Two Heads at Opera; festivals in Vienna, Salzburg, Holland, Maggio, the Ohio Theatre in Soho, and Democracy in America and Munich; two Grammy nominations; two Cleo at the Yale Repertory Theatre and Center Stage. She has appeared in several films, including Irony, In FACULTY 191

Shadow City, and The Smallest Particle by Ken CollegeHumor, MTV, Nickelodeon, Orange Is the New Feingold and The Madness of the Day by Terrance Black, and numerous Web series. Starred in “indie” Grace. As a writer, she has collaborated with both films, including: See You Next Tuesday, Divorce The Private Theatre and Tiny Mythic Theatre, Counselor, and UCBComedy’s Presto. Host of An creating original works. SLC, 2013– Uncomfortable Conversation About Race, a roundtable discussion in which she and her partner Charles Zerner Barbara B. and Bertram J. Cohn invite people to break free from YouTube comments Professorship in Environmental and watch as very different people embark on “an Studies—Environmental Studies (on leave uncomfortable conversation about race.” SLC, 2013– spring semester) BA, Clark University. MArch, University of Oregon. JD, Carol Zoref Director, The Writing Center—Writing . Special interests in BA, MFA, Sarah Lawrence College. Fiction writer and environmental ethnography; political ecology; essayist. Recipient of fellowships and grants from environmental justice, law, language, and culture; Virginia Center for Creative Arts, Hall Farm Center for and environmental security and public policy. Arts, and In Our Own Write. Winner of I.O.W.W. Ethnographic fieldwork with Mandar fishing Emerging Artist Award and finalist orf the Henfield communities of Sulawesi, Indonesia, and reef Award, American Fiction Award, and Pushcart Prize. management in Indonesia’s Maluku Islands; former Winner of 2015 A.W.P. (Associated Writing Programs) program director, the Rainforest Alliance. Novel Award for Barren Island (New Issues Press, Contributor and editor, People, Plants, and Justice: University Western Michigan). SLC, 1996– The Politics of Nature Conservation and Culture and the Question of Rights: Forests, Coasts, and Seas in Elke Zuern Politics Southeast Asia. Co-editor of Representing AB, . MA, MPhil, PhD, Columbia Communities: Politics and Histories of Community- University. Research interests include social Based Natural Resource Management and, with Banu movements in new democracies, popular responses Subramaniam and Elizabeth Hartmann, of Making to poverty and inequality, violence in Threats: Biofears and Environmental Anxieties democratization processes, collective memory, (AltaMira Press, 2005). Residencies at University of memorials and reconciliation. Regional California–Irvine, Humanities Research Institute, and specialization: sub-Saharan Africa and extensive Woodrow Wilson International Center for Scholars. fieldwork in South Africa and research in Namibia. Grants include Fulbright-Hays fellowship for Author of The Politics of Necessity: Community fieldwork in Indonesia, National Endowment for the Organizing and Democracy in South Africa (University Humanities, and Social Science Research Council. of Wisconsin Press, 2011). Recipient of a Mellon SLC, 2000– postdoctoral fellowship at and a Lowenstein fellowship. Articles published in Keisha Zollar Theatre Democratization, Comparative Politics, Politique New York-based teacher and comedienne. Teaches Africaine, African Affairs, South African Labour improv at the Upright Citizens Brigade and has Bulletin, Transformation, and Review. performed with Doppelganger (Sasheer Zamata and SLC, 2002– Nicole Byer). Performed on UCBComedy.com,