FALL 2012 Undergraduate Course Offerings

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NYU Gallatin 1 Washington Place New York, NY 10003 212.998.7370 t a b l e o f c o n t e n t s

3 NEW COURSES

4 COURSE SCHEDULE

9 GLOBAL COURSES

FALL 2012 COURSE DESCRIPTIONS 10 FIRST-YEAR PROGRAM All students who enter Gallatin with fewer than 32 units are required to take three courses that constitute the First-Year Program: a First-Year Interdisciplinary Seminar, which introduces students to the goals, methods, and philosophy of university education and to the interdisciplinary, individualized approach of the Gallatin School, and a two-semester writing sequence (First-Year Writing Seminar and First-Year Research Seminar), which help students develop their writing skills and prepare them for the kinds of writing they will be doing in their other courses.

20 INTERDISCIPLINARY SEMINARS Interdisciplinary seminars are liberal arts courses that engage a variety of themes or issues in the history of ideas. Generally, these courses focus on significant works in the humanities, social sciences, and sciences. These courses are relatively small (22 students) and they emphasize class discussion and thoughtful writing assignments. Gallatin students are required to complete 16 units in interdisciplinary seminars.

38 ADVANCED WRITING COURSES In a workshop format with no more than 15 students, the advanced writing courses engage students in a wide variety of writing exercises and offer an opportunity to share work with fellow students and a practicing professional writer/teacher. Some of the courses focus on particular forms of writing— fiction, poetry, comedy, the journal, the personal narrative, the critical essay—while others encompass several forms and focus instead on a particular theme, such as writing about politics, writing about the arts, and writing about one’s ancestry.

42 ARTS WORKSHOPS Gallatin offers a large variety of arts workshops in music, dance, theatre, and the visual arts. These workshops are taught by successful New York City artists, performers, and writers; they are designed for both beginning and advanced students. The arts workshops all employ an “artist/scholar” model that involves giving students experiential training in the practice of particular art forms as well as providing opportunities for critical reflec- tion about the artistic process, aesthetic theory, and the sociology of art.

49 COMMUNITY LEARNING Community learning courses bridge the gap between the classroom and the surrounding New York community. Students engage in various kinds of activities in the city: arts projects, oral histories, documentary video-making, action research, community organizing. They also read and discuss theories relevant to their work and consider the social, political, and ethical implications of the activities. These projects grow out of partnerships with a variety of community-based organizations.

50 GRADUATE ELECTIVES Graduate electives are available in a variety of fields, including arts, creative writing, and social theory and methods. These courses are open to advanced undergraduates with permission of the instructor.

52 INDIVIDUALIZED PROJECTS Gallatin offers students an opportunity to pursue their interests through a variety of alternatives outside the traditional classroom: independent study, tutorials, internships, and private lessons.

53 TRAVEL COURSE FOR STUDENTS STUDYING ABROAD

54 FALL 2012 FACULTY

58 FOUNDATION REQUIREMENT

60 KEY CONTACTS

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fIRST-YEAR program FIRST-UG 77 FYIS: Play and Games in Early China Ethan Harkness FIRST-UG 78 FYIS: Environmentalism: A Global History Peder Anker FIRST-UG 79 FYIS: Fantastic Voyage: The Art and Science of Science Fiction José Perillán FIRST-UG 80 FYIS: Happiness, Tranquility, and Mysticism Bradley Lewis FIRST-UG 81 FYIS: Fear and Loathing: Documentary and Subjectivity Rahul Hamid FIRST-UG 385 FYWS: Contemplation and Culture Jean Gallagher FIRST-UG 386 FYWS: Listening to Rebel Voices: From Medieval Peasants to Contemporary Protesters Sharon Fulton FIRST-UG 387 FYWS: Keeping It Real: Thinking about Authenticity A. Lavelle Porter FIRST-UG 388 FYWS: Debating Science: Great Scientific Controversies in Context José Perillán FIRST-UG 389 FYWS: Translation: History, Theory, and Practice Kathryn Vomero Santos FIRST-UG 390 FYWS: The Return of the Soldier Joanna Scutts

INTERDISCIPLINARY SEMINARS IDSEM-UG 1698 The Social Contract: Early Modern European Political Theory Justin Holt IDSEM-UG 1699 Feeling, in Theory Eve Meltzer IDSEM-UG 1700 Becoming Global? Europe and the World: A Literary Exploration Valerie Forman IDSEM-UG 1701 The End of the World Matthew Stanley IDSEM-UG 1702 Spectacle and Mass Media Moya Luckett IDSEM-UG 1704 The Weary Blues: Rites of Passage and Writing about Passages Matthew Vernon IDSEM-UG 1705 Antigone(s): Ancient Greece/Performance Now K. Horton / L. Slatkin IDSEM-UG 1706 The Origins of Language and Its Place in Western Thought Luke Fleming IDSEM-UG 1708 Visions of the Good Life in Ancient Greece James Bourke IDSEM-UG 1709 Global Surrealism Lori Cole IDSEM-UG 1710 Sex and the State Lauren Kaminsky IDSEM-UG 1711 Politics, Writing and the Nobel Prize in Latin America Linn Mehta IDSEM-UG 1712 Empire, Race and Politics George Shulman IDSEM-UG 1713 From Blackface to Black Power: Twentieth-Century African American Literature Laurie Woodard IDSEM-UG 1714 What is Critique? A.B. Huber

practicum PRACT-UG 1301 Practicum in Fashion Business to be announced

ADVANCED WRITING COURSES WRTNG-UG 1019 The Basics and the Bold: Fundamentals of Editing Fiction and Creative Nonfiction Barbara Jones WRTNG-UG 1215 Writing the Other Aaron Hamburger WRTNG-UG 1534 Sidelines: The World of the Cross-Genre Writer Lizzie Skurnick

arts workshopS ARTS-UG 1647 Making Virtual Sense: 3D Graphics Studio for Critically-Driven Creative Applications Carl Skelton

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First-Year Program First-Year Interdisciplinary Seminars (Open to Gallatin first-year students only) FIRST-UG 24 Migration and American Culture Dinwiddie W 2:00-3:15 p. 10 Friday schedule for travel to and from NYC sites. F 12:30-3:15 FIRST-UG 32 The Social Construction of Reality Duncombe MW 11:00-12:15 p. 10 FIRST-UG 35 Family McCreery MW 11:00-12:15 p. 10 FIRST-UG 49 The Self and the Call of the Other Greenberg MW 12:30-1:45 p. 10 FIRST-UG 65 Beyond Language Erickson TR 2:00-3:15 p. 10 FIRST-UG 69 Boundaries and Transgressions Cruz Soto TR 9:30-10:45 p. 11 FIRST-UG 70 Holy Grails Romig MW 2:00-3:15 p. 11 FIRST-UG 71 Political Theatre Forman TR 3:30-4:45 p. 11 FIRST-UG 74 Historical Memory in War and Peace Gurman MW 12:30-1:45 p. 12 FIRST-UG 76 What is "Development?" Fredericks TR 2:00-3:15 p. 12 FIRST-UG 77 Play and Games in Early China Harkness TR 9:30-10:45 p. 12 FIRST-UG 78 Environmentalism: A Global History Anker MW 9:30-10:45 p. 12 FIRST-UG 79 Fantastic Voyage Perillán MW 3:30-4:45 p. 13 FIRST-UG 80 Happiness, Tranquility, and Mysticism Lewis TR 11:00-12:15 p. 13 FIRST-UG 81 Fear and Loathing Hamid TR 11:00-12:15 p. 13 First-Year Writing Seminars (Open to Gallatin first-year students only) FIRST-UG 319 Aesthetics on Trial Trogan TR 6:20-7:35 p. 14 FIRST-UG 323 Artists' Lives, Artists' Work Traps MW 4:55-6:10 p. 14 FIRST-UG 324 Metamorphoses Foley MW 3:30-4:45 p. 14 FIRST-UG 345 Love and Trouble Weisser TR 9:30-10:45 p. 14 FIRST-UG 353 The Faith Between Us Korb MW 8:00-9:15 p. 14 FIRST-UG 357 Wilderness and Civilization Libby TR 4:55-6:10 p. 15 FIRST-UG 361 Collage: From Art to Life and Back Vydrin MW 2:00-3:15 p. 15 FIRST-UG 365 The Idea of America: What Does it Mean? Gurman MW 3:30-4:45 p. 15 FIRST-UG 375 Writing the Self Huddleston MW 9:30-10:45 p. 15 FIRST-UG 379 Utopia Gellene TR 8:00-9:15 p. 16 FIRST-UG 382 The Body Politic and the Politics of the Body Meyer MW 11:00-12:15 p. 16 FIRST-UG 384 Walking and Writing in New York City Ribeiro TR 2:00-3:15 p. 16 FIRST-UG 385 Contemplation and Culture Gallagher TR 11:00-12:15 p. 16 FIRST-UG 386 Listening to Rebel Voices Fulton TR 3:30-4:45 p. 17 FIRST-UG 387 Keeping It Real: Thinking about Authenticity Porter MW 9:30-10:45 p. 17 FIRST-UG 388 Debating Science: Great Scientific Controversies Perillán MW 12:30-1:45 p. 17 FIRST-UG 389 Translation: History, Theory, and Practice Vomero Santos MW 4:55-6:10 p. 17 FIRST-UG 390 The Return of the Soldier Scutts MW 12:30-1:45 p. 18 transfer student Research Seminars (open to transfer students only) FIRST-UG 801 Myths and Fables in Popular Culture Lennox MW 11:00-12:15 p. 19 FIRST-UG 802 Coming Home: Identity and Place Lemberg MW 2:00-3:15 p. 19 FIRST-UG 803 Working Ding MW 9:30-10:45 p. 19 4 fall f a l l 2012 c o u r s e s c h e d u l e

Interdisciplinary Seminars Sophomores Only IDSEM-UG 1122 Discourses of Love: Antiquity to the Renaissance Mirabella TR 11:00-12:15 p. 20 Sophomores and juniors Only IDSEM-UG 1592 American Narrative I Shulman R 3:30-6:10 p. 20 IDSEM-UG 1712 Empire, Race and Politics Shulman T 6:20-9:00 p. 21 Sophomores, Juniors, and Seniors Only IDSEM-UG 1061 Literary Forms and the Craft of Criticism Friedman W 12:30-3:15 p. 21 open to all, 14-Week, Four-Credit Seminars IDSEM-UG 1128 Bodily Fictions Ciolkowski R 3:30-6:10 p. 22 IDSEM-UG 1144 Free Speech and Democracy Thaler R 6:20-9:00 p. 22 IDSEM-UG 1156 The Darwinian Revolution Cittadino MW 2:00-3:15 p. 22 IDSEM-UG 1193 Culture as Communication Varadhan MW 11:00-12:15 p. 22 IDSEM-UG 1197 Narratives of African Civilizations Dawson M 3:30-6:10 p. 23 IDSEM-UG 1202 Tragic Visions Mirabella TR 3:30-4:45 p. 23 IDSEM-UG 1207 Origins of the Atomic Age Cittadino TR 11:00-12:15 p. 23 IDSEM-UG 1215 Narrative Investigations I Pies TR 11:00-12:15 p. 23 IDSEM-UG 1216 Doing Things with Words Cornyetz T 3:30-6:10 p. 23 IDSEM-UG 1300 Militaries and Militarization Lauria-Perricelli TR 4:55-6:10 p. 24 IDSEM-UG 1311 Mad Science/Mad Pride Lewis T 3:30-6:10 p. 24 IDSEM-UG 1314 Literary and Cultural Theory Murphy MW 4:55-6:10 p. 24 IDSEM-UG 1328 Jung and Postmodern Religious Experience Robbins TR 9:30-10:45 p. 24 IDSEM-UG 1381 Creative Democracy: The Pragmatist Tradition Caspary W 3:30-6:10 p. 25 IDSEM-UG 1388 Thinking About Seeing Miller T 3:30-6:10 p. 25 IDSEM-UG 1394 Latinos and the Politics of Race Poitevin MW 9:30-10:45 p. 25 IDSEM-UG 1417 Politics and the Gods Tugendhaft TR 6:20-7:35 p. 25 IDSEM-UG 1426 Boundary Crossings White MW 6:20-7:35 p. 25 IDSEM-UG 1454 The Iliad and Its Legacies in Drama Slatkin W 3:30-6:10 p. 26 Same as COLIT-UA 104. IDSEM-UG 1468 Psychoanalysis and the Visual Meltzer M 12:30-3:15 p. 26 IDSEM-UG 1482 Consuming the Caribbean Polyné R 3:30-6:10 p. 26 Same as SCA-UA 721.001. IDSEM-UG 1503 American Poetics Polyné W 3:30-6:10 p. 26 Same as SCA-UA 816. Formerly titled, "Hemispheric Imaginings: Race, Ideology and Foreign Policy in the Americas." Course is not repeatable. IDSEM-UG 1504 Guilty Subjects Murphy MW 11:00-12:15 p. 27 IDSEM-UG 1519 Biology and Society Jackson MW 3:30-4:45 p. 27 IDSEM-UG 1523 Feminism, Empire and Postcoloniality Cruz Soto TR 11:00-12:15 p. 27 IDSEM-UG 1527 Finance for Social Theorists Rajsingh M 7:45-10:15 p. 28 IDSEM-UG 1545 On Freud's Couch Cornyetz W 12:30-3:15 p. 28 IDSEM-UG 1552 Sociology of Religion: Islam and the Modern World Mirsepassi TR 2:00-3:15 p. 28

2012 5 f a l l 2012 c o u r s e s c h e d u l e open to all, 14-Week, Four-Credit interdisciplinary Seminars (cont.) IDSEM-UG 1555 Imagining India: From the Colonial to the Global Lukose F 11:00-1:45 p. 28 IDSEM-UG 1566 History of Environmental Sciences Before Darwin Anker TR 9:30-10:45 p. 29 IDSEM-UG 1586 Consumerism in Comparative Perspective DaCosta T 3:30-6:10 p. 29 Same as SOC-UA 970. IDSEM-UG 1587 Who Owns Culture? Drakes W 3:30-6:10 p. 29 IDSEM-UG 1603 Modern Poetry and the Actual World Goldfarb TR 3:30-4:45 p. 29 IDSEM-UG 1609 Dante's World Rutigliano W 3:30-6:10 p. 30 IDSEM-UG 1617 Philosophy of Religion Thometz T 9:30-12:15 p. 30 IDSEM-UG 1618 Media and Fashion Luckett M 6:20-9:00 p. 30 IDSEM-UG 1643 Law and Legal Thought Nesiah TR 9:30-10:45 p. 31 IDSEM-UG 1648 Environment and Development in Africa Fredericks W 3:30-6:10 p. 31 IDSEM-UG 1651 From Memory to Myth: The Mighty Charlemagne Romig MW 12:30-1:45 p. 31 Same as HIST-UA 245. IDSEM-UG 1652 Science and Culture Jackson MW 12:30-1:45 p. 32 IDSEM-UG 1684 Indigenous Culture and Cultural Authenticity Fleming MW 3:30-4:45 p. 32 IDSEM-UG 1698 The Social Contract Holt F 12:30-3:15 p. 32 IDSEM-UG 1699 Feeling, in Theory Meltzer R 3:30-6:10 p. 33 IDSEM-UG 1700 Becoming Global? Europe and the World Forman TR 11:00-12:15 p. 33 Same as COLIT-UA 800.001. IDSEM-UG 1701 The End of the World Stanley MW 11:00-12:15 p. 33 IDSEM-UG 1702 Spectacle and Mass Media Luckett F 11:00-1:45 p. 33 IDSEM-UG 1704 The Weary Blues Vernon F 11:00-1:45 p. 34 IDSEM-UG 1705 Antigone(s): Ancient Greece/Performance Now Horton / Slatkin T 3:30-6:10 p. 34 IDSEM-UG 1706 The Origins of Language Fleming F 11:00-1:45 p. 34 IDSEM-UG 1708 Visions of the Good Life in Ancient Greece Bourke MW 9:30-10:45 p. 35 IDSEM-UG 1709 Global Surrealism Cole W 6:20-9:00 p. 35 IDSEM-UG 1710 Sex and the State Kaminsky M 3:30-6:10 p. 35 IDSEM-UG 1711 Politics, Writing and the Nobel Prize in Latin America Mehta MW 3:30-4:45 p. 35 IDSEM-UG 1713 From Blackface to Black Power Woodard TR 2:00-3:15 p. 36 IDSEM-UG 1714 What is Critique? Huber W 3:30-6:10 p. 36 Same as COLIT-UA 800.002. 7-Week, Two-Credit Seminar: september 4–october 18 IDSEM-UG 1558 The Travel Habit: On the Road in the Thirties Hutkins TR 2:00-3:15 p. 37

Practicum PRACT-UG 1301 Practicum in Fashion Business t.b.a p. 37 Permission of the instructor required. Scheduling details and instructor information to be announced.

Advanced Writing Courses WRTNG-UG 1019 The Basics and the Bold: Fundamentals of Editing Jones W 6:20-9:00 p. 38 WRTNG-UG 1034 Writing about Performance Malnig MW 12:30-1:45 p. 38 WRTNG-UG 1039 Writing about Popular Music Petrusich W 6:20-9:00 p. 38 6 fall f a l l 2012 c o u r s e s c h e d u l e

WRTNG-UG 1070 Writing about Film Bram F 12:30-3:15 p. 38 WRTNG-UG 1215 Writing the Other Hamburger W 6:20-9:00 p. 38 WRTNG-UG 1300 Creative Nonfiction Beam R 3:30-6:10 p. 39 WRTNG-UG 1305 The Art of the Personal Essay Friedman M 3:30-6:10 p. 39 WRTNG-UG 1329 Writing the Fragment Blythe TR 4:55-6:10 p. 39 WRTNG-UG 1341 Oral Narratives: Stories and Their Variations Snider M 9:30-12:15 p. 39 WRTNG-UG 1508 Writing for Late Night Television Gilles M 3:30-6:10 p. 40 WRTNG-UG 1534 Sidelines: The World of the Cross-Genre Writer Skurnick R 6:20-9:00 p. 40 WRTNG-UG 1537 Crafting Short Fiction from the Sentence Up Rinehart T 7:45-10:15 p. 40 WRTNG-UG 1540 Reading and Writing the Short Story Zoref M 6:20-9:00 p. 40 WRTNG-UG 1550 Fiction Writing Vapnyar T 6:20-9:00 p. 40 Students may take "Fiction Writing" two times. WRTNG-UG 1555 Advanced Fiction Writing Spain R 6:20-9:00 p. 41 Prerequisite WRTNG-UG 1550 or CRWRI-UA 815 or CRWRI-UA 816 or CWRI-UA 820 or permission of the instructor. Students may take "Advanced Fiction Writing" two times. WRTNG-UG 1560/01 The Art and Craft of Poetry Fragos M 6:20-9:00 p. 41 Students may take "The Art and Craft of Poetry" two times. WRTNG-UG 1560/02 The Art and Craft of Poetry Pies TR 3:30-4:45 p. 41 Students may take "The Art and Craft of Poetry" two times. WRTNG-UG 1564 Advanced Poetry Writing Hightower M 3:30-6:10 p. 41 Prerequisite WRTNG-UG 1560 or CRWRI-UA 817 or CRWRI-UA 830, or permission of the instructor. Students may take "Advanced Poetry Writing" two times. writing-related course CLI-UG 1460 Literacy in Action Ramdeholl M 6:20-9:00 p. 41

Arts Workshops students may take any arts workshop two times. ARTS-UG 1014 Something to Sing About: Acting in Musical Theatre Steinfeld M 12:30-3:15 p. 42 ARTS-UG 1045 Oral History, Cultural Identity and the Arts Sloan M 6:20-9:00 p. 42 ARTS-UG 1080 Site-Specific Performance Bowers R 9:30-12:15 p. 42 ARTS-UG 1107 Body Wisdom for Performers Powell T 6:20-9:00 p. 42 ARTS-UG 1110 The Art of Play Hodermarska R 9:30-12:15 p. 43 ARTS-UG 1209 The Art of Choreography Posin R 3:30-6:10 p. 43 ARTS-UG 1211 Making Dance: Space, Place and Technology Satin W 11:00-1:45 p. 43 ARTS-UG 1305 Rudiments of Contemporary Musicianship Castellano W 6:20-9:00 p. 43 Lab fee: $35. Course meets at Drummer's Collective, 123 West 18th Street. ARTS-UG 1325 Songwriting Rayner T 3:30-6:10 p. 44 Lab fee: $35. Course meets at Drummer's Collective, 123 West 18th Street. ARTS-UG 1405 Drawing and Painting Katz F 9:30-12:15 p. 44 ARTS-UG 1420 Rites of Passage into Contemporary Art Practice Ruhe R 3:30-6:10 p. 44 ARTS-UG 1445 Walls of Power: Public Art Culver T 6:20-9:00 p. 44 ARTS-UG 1470 The Public Square Wyatt M 9:30-12:15 p. 44 Students should not schedule any classes immediately before or after this class to allow ample time to travel to off-site locations. Students are expected to pay for their own travel costs. 2012 7 f a l l 2012 c o u r s e s c h e d u l e arts workshops (cont.) ARTS-UG 1485 Beyond Picture Perfect Day T 3:30-6:10 p. 45 ARTS-UG 1490 Sound Art Katchadourian W 3:30-6:10 p. 45 ARTS-UG 1565 Playwriting Churchill T 6:20-9:00 p. 45 ARTS-UG 1570 Writing for the Screen I Thompson R 6:20-9:00 p. 45 ARTS-UG 1571 Writing for Television I Douglas M 3:30-6:10 p. 45 ARTS-UG 1603 Mapping Harpman TR 2:00-3:15 p. 46 F 12:30-1:45 ARTS-UG 1604 Native American Film and Video Cordova F 12:30-3:15 p. 46 ARTS-UG 1619 Architecture and Urban Design Lab I Joachim W 11:00-1:45 p. 46 Please note this is a 6-credit course. W 2:00-3:15 ARTS-UG 1621 Architectural Design and Drawing Goodman W 6:20-9:00 p. 47 ARTS-UG 1626 Good Design: Scale Harpman MW 9:30-10:45 p. 47 ARTS-UG 1635 Digital Art and New Media Allen R 3:30-6:10 p. 47 ARTS-UG 1647 Making Virtual Sense: 3D Graphics Studio Skelton F 9:30-12:15 p. 47 ARTS-UG 1652 Creating a Magazine Friedman MW 2:00-3:15 p. 48

Community Learning Courses CLI-UG 1444 Lyrics on Lockdown Anderson / Hall M 2:00-4:45 p. 49 CLI-UG 1445 Shifting Focus I Read M 6:20-9:00 p. 49 CLI-UG 1453 Gentrification and Its Discontents Poitevin M 3:30-6:10 p. 49 CLI-UG 1460 Literacy in Action Ramdeholl M 6:20-9:00 p. 49

Graduate Electives Open to advanced undergraduates with permission of the instructor. ELEC-GG 2545 The Shape of the Story: Content into Form King W 6:20-9:00 p. 50 ELEC-GG 2575 Dramatizing History I Dinwiddie R 6:20-9:00 p. 50 ELEC-GG 2720 American Society and Culture in Transition Raiken M 6:20-9:00 p. 51 ELEC-GG 2745 Democratic Persuasion Duncombe M 6:20-9:00 p. 51

Individualized Projects INDIV-UG 1701 Private Lesson p. 52 Pass/Fail Only. Deadline for submitting proposal is Sept 10. To register, please contact Faith Stangler Lucine ([email protected]). INDIV-UG 1801 Internship p. 52 Pass/Fail Only. Deadline for submitting proposal is Sept 10. To register, please contact Faith Stangler Lucine ([email protected]). Students are required to attend two workshops (dates to be announced). INDIV-UG 1901 Independent Study p. 52 Deadline for submitting proposal is May 1. To register, please contact [email protected]. INDIV-UG 1905 Senior Project p. 52 Deadline for submitting proposal is May 1. To register, please contact [email protected]. INDIV-UG 1925 Tutorial p. 53 Deadline for submitting proposal is May 1. To register, please contact [email protected].

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gallatin Travel Course TRAVL-UG 1200 The Art of Travel Hutkins to be arranged p. 53 Enrollment is restricted to students studying abroad at an NYU site during fall 2012. NYU global sites accra Internship Seminar and Fieldwork BERLIN European Environmental Policy Topics in German Cinema: Heimat, the City and the Self buenos Aires Tango and Mass Culture Creative Writing: Argentina, Travel Writing at the End of the World Internship Seminar and Fieldwork Florence Postmodern Fiction: An International Perspective Community Service in Florence LONDON Immigration Paris The French Art World in the Nineteenth Century Paris Monuments and Political Power in the Nineteenth and Twentieth Centuries Topics in French Literature: Paris in French and Expatriate Literature PRAGUE Kafka and His Contexts Literature and Place of Central Europe Civil Resistance in Central and Eastern Europe Central European Film Modern Dissent in Central Europe: The Art of Defeat shanghai Creative Writing Internship Seminar and Fieldwork tel aviv Internship Seminar and Fieldwork

2012 9 f i r s t -y e a r interdisciplinary s e m i n a r s

struggle to reach it, artists attempt to represent it, and many GALLATIN FIRST-YEAR STUDENTS ONLY individuals hope to transcend it. This course offers both a critical examination of family in the United States and a survey Migration and American Culture of the academic disciplines that study it. As we will see, legal,

FIRST-UG 24 4 UN W 2:00-3:15, F 12:30-3:15 M. Dinwiddie social, and personal definitions of family are fluid because his- The extended meeting time on Friday accommodates travel to and torical processes such as slavery, immigration, and demands from NYC sites. for gay rights re-shape popular conceptualizations of family. This course will examine the immigrant and migrant narra- Similarly, disciplines such as history, sociology, biology, law, tives of varied racial and ethnic groups in the United States. literature, and literary theory routinely offer new and some- What changes in identity and in political, social and economic times contradictory ways of understanding family. This course status did they experience? What were the newcomers’ will use these disciplines to illuminate the complicated ideas expectations of their environment, and what reality did they and emotions that can surround what arguably are our closest encounter? Our study will look at coping mechanisms, the relationships. Works we may study include Alice Walker's The forging of intra-tribal identity, the sociology of survival, and Color Purple, Nancy Polikoff's Beyond (Straight and Gay) the concept of ‘otherness.’ We will visit notable sites includ- Marriage, and the photography of Sally Mann. ing The Hispanic Society of America, the National Museum of the American Indian, Henry Street Settlement House, the The Self and the Call of the Other Tenement Museum, the African Burial Ground, the Eldridge FIRST-UG 49 4 UN MW 12:30-1:45 Judith Greenberg Street Synagogue, El Museo del Barrio, the Islamic Cultural Ovid’s story of Echo and Narcissus from Metamorphoses Center of New York, the Schomburg Center for Research in portrays the dangers of refusing to heed the call of the Other. Black Culture, The Museum of Chinese in America, and the Absorbed by his own image, Narcissus ignores the nymph Lewis H. Latimer House. Readings may include such texts Echo, who relies upon his words to speak. His solipsism leads as How the Other Half Lives by Jacob Riis, The Warmth of Other to their deaths. This class takes Ovid’s story as a model for Sons by Isabel Wilkerson, The Lucky Ones by Mae Ngai, Down investigating how the self is shaped in relation to the other, a These Mean Streets by Piri Thomas, and Imagined Communities question considered by psychologists, writers, philosophers, by Benedict Anderson. Films include Clint Eastwood’s Gran filmmakers and literary critics. We will read psychological Torino and the documentary Family Name by Mackie Alston. discussions of the development of the self or ego (Freud, Winnicott, Benjamin), literary portrayals of the self in rela- The Social Construction of Reality tion to others (Woolf’s Mrs. Dalloway, Joyce’s “The Dead,” FIRST-UG 32 4 UN MW 11:00-12:15 Stephen Duncombe Duras’ The Ravishing of Lol V. Stein), and philosophical essays How do we know what is real and what is illusion? From the (Blanchot, Levinas). We will examine the breakdown in the philosophy of the ancient Greeks to contemporary movies connection between the self and the other due to trauma, such as The Matrix, this question has haunted humankind. This reading essays in trauma studies (Caruth and Brison), and the course begins with the premise that "the real" is something ways in which colonialism and empire shape conceptions of we construct. We create reality through the stories we tell self and other, reading novels (Forster, A Passage To India) and and the stories told to us. Since the most powerful story- theory (Said, Spivak). We will also ask what problems arise tellers today are the commercial media, we will pay special specifically when women speak—how Echo finds a voice— attention to the role of entertainment, advertising, and public viewing the films Spellbound and Sunset Boulevard. relations in constructing our reality. Texts for the course include works by Plato, Rene Descartes, W.E.B. Du Bois, Beyond Language: Maxine Hong Kingston, Charlotte Perkins Gilman, Herman The Surreal, the Monstrous, and the Mystical

Melville, Walter Lippmann, Jean Baudrillard, Slavoj Zizek, FIRST-UG 65 4 UN TR 2:00-3:15 Gregory Erickson Judith Butler, Jonathan Lear and John Berger. Texts of the surreal, the monstrous, and the mystical are portrayals of experiences that, while they may be outside Family traditional logic, are clearly central to the human imagination. FIRST-UG 35 4 UN MW 11:00-12:15 Patrick McCreery The texts studied in this course will reveal these experiences In our sciety, the concept of “family” is paradoxically omni- as metaphors of anxiety, depictions of radical subjectivity, present but elusive: politicians seek to define it, marketers and as manifestations of our unconscious fears and desires.

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Students are presented with the fascinating but difficult Holy Grails project of researching, interpreting, and describing irrational FIRST-UG 70 4 UN MW 2:00-3:15 Andrew Romig mental states often said to be “beyond language,” yet exist- The Quest for the Holy Grail has captured the modern ing within language. Through discussion, informal writing, Western imagination, spawning bestselling fiction, scholarly and experiential activities, we will take various approaches and conspiratorial study, and no fewer than fourteen feature to understanding depictions of these experiences as well as films dating back to the silent era. Yet our twentieth-century their surrounding discourse. We will focus on issues of order fascination with the legendary Cup is only the most recent vs. chaos, logic vs. irrationality, chance and fate, immanence incarnation of a long obsession in popular Western culture— and transcendence, self and other, and the concepts of an obsession that reaches back in time to at least the twelfth nothingness, the uncanny, and the posthuman. Readings will century, and possibly earlier still. In this course, the legend of include essays from diverse fields such as psychology (Freud, the Holy Grail will serve as a case study for learning about Lacan), science (Hawking, Sagan, Gleick), and literary and cul- the Middle Ages and medievalism in our world today. We will tural theory (Haraway, Beal, Kurzweil), as well as surrealistic study the flourishing of the Grail legend in medieval courtly poetry, literary monster narratives from the Bible to Dracula, society, but we will think about other “Grails” as well: quests mystical and devotional texts, and testimonies of paranormal for the unknown, the unseen, and the unconquered; fascina- encounters. We will also look at visual art, installation art, tion with conspiracy; and above all, the hope that human film, and television. beings invest in symbols, not just of the divine, but also of transcendent kindness, compassion, and sacrifice. Readings Boundaries and Transgressions will include Beowulf, the Perceval legends of Chrétien de Troyes FIRST-UG 69 4 UN TR 9:30-10:45 Marie Cruz Soto and Wolfram von Eschenbach, Robert de Boron’s Merlin, Boundaries, especially those thought to separate national and Thomas Malory’s Le Morte d’Arthur. We will examine communities, are powerful human inventions that can scar our modern associations of the Grail legend with Christian landscapes and bodies. The frontiers of the United States, femininity, the Knights Templar, the Papacy, and Leonardo da for example, have been centuries in the making. Yet, these Vinci. And in dialogue with theorists of anthropology, political geographical imaginaries, however stable they may appear, science, psychology, and comparative mythology, we will dis- depend on their continuous embracing, enforcement and cuss why we pursue holy grails in the first place—what keeps redefinition. Indeed, the limits of the U.S. community (where us striving for those tantalizing, ultimately unreachable goals the national ends and the foreign begins) are redefined on a that nevertheless compel us ever forward. daily basis along such sites as the Rio Grande, Guantánamo and others. These sites—porous and formidable—are the Political Theatre cause of much movement, anxiety and debate. This course FIRST-UG 71 4 UN TR 3:30-4:45 Valerie Forman takes boundaries as a lens through which to think about What makes theatre political? How has the politics of the- identity formation, community building and transgressions. atre been imagined and practiced in different times? What It will begin with a broad exploration of boundary-making, hopes for changing the world does theatre dramatize? What subjectivities and imperial formations, and then address more does the study of theatre teach us about politics? How does specific dynamics of national demarcations (with special the theatre become a productive site for representing, and attention paid to U.S. and Haiti/Dominican Republic fron- even enacting, political change? This course explores these tiers). The following questions guide the semester: How are questions by reading plays from three periods in which boundaries imagined into existence and made to matter in the theatrical production played a significant role in the politics daily lives of different peoples? And, how can transgression of its world—ancient Greece, Renaissance England, and our and its consequences be understood? Readings might include contemporary globalized world. The primary objective of this Edwidge Danticat’s The Farming of Bones, Frederick Jackson course is to introduce students to plays that not only address Turner’s The Significance of the Frontier in American History, a range of political issues (for example, about race, gender, and texts by Sigmund Freud, Amy Kaplan, Gloria Anzaldúa sexuality, class, violence, the governing of subjects, and the and Julia Kristeva. production of good citizens) but also attempt to enact change and engage the community. We will thus be reading innovative plays alongside theorists who investigate and imagine the political potential of theatre and performance. By attending

2012 11 f i r s t -y e a r interdisciplinary s e m i n a r s plays and participating in experimental theatrical exercises Play and Games in Early China ourselves, we will be able both to think about what makes FIRST-UG 77 4 UN TR 9:30-10:45 Ethan Harkness theatre political and to experience its effects through our In this class we will combine academic study with an expe- own creative actions. We will make at least one trip to the riential approach to the topic of games and, more generally, theatre together, and students will be encouraged to explore participatory entertainment in early China. Thus in addition alternative theatrical sites in NYC. Likely playwrights we to thinking about the meaning of play as a universal human will study include: Sophocles, Shakespeare, Brecht, Ngugi activity and contextualizing examples of popular games from wa Thiong'o & Ngugi wa Mirii, Anna Deveare Smith, Caryl the Chinese tradition with background reading on related Churchill, Clifford Odets, and Sara Kane. philosophical and cosmological beliefs, we will learn the fundamentals of the ancient Chinese game of weiqi (go), a Historical Memory in War and Peace favorite pastime of scholars since at least the Han dynasty. FIRST-UG 74 4 UN MW 12:30-1:45 Hannah Gurman Students will be introduced to on-line resources that allow In the aftermath of the Holocaust, Primo Levi wrote, “Never them to play the game in real time with opponents from forget that this has happened.” Levi’s imperative raises impor- around the world, and they will also visit local New York City tant questions about the role of memory in contemporary go clubs. Through diligent study, students will be expected atrocity and war. What is the purpose of remembering atroc- to achieve a reasonable level of competence in the game ity? What is the relationship between memory and justice? and asked to demonstrate that for a portion of their final Between memory and history? Focusing on the Holocaust, grade. By demanding real immersion in an absorbing and the Rwandan genocide, the Vietnam War, and 9/11, this characteristically Chinese activity that has remained essen- course will examine how war tribunals, war memorials, lit- tially unchanged over at least two millennia, it is hoped that erature, film and leaked government documents have shaped, students will begin to recognize the fundamental humanity challenged, and revised the way we think about these events. they share with the former peoples of early China. Readings In addition to informal response papers, students will write 3 may include Homo Ludens by J. Huizinga, Man, Play and Games formal essays over the course of the semester. Readings may by Roger Caillois, The Grasshopper: Games, Life and Utopia by include works by W.G. Sebald, Karl Jaspers, Hannah Arendt, Bernard Suits, selections from Science and Civilization in China Philip Gourevitch, Daniel Ellsberg, and Noam Chomsky. by Joseph Needham, The Art of War by Sun-tzu, and Learn to Play Go by Janice Kim. What is "Development?"

FIRST-UG 76 4 UN TR 2:00-3:15 Rosalind Fredericks Environmentalism: A Global History From Bono to indigenous community activists in the Amazon, everyone is talking about 'development.' The term, however, FIRST-UG 78 4 UN MW 9:30-10:45 Peder Anker means different things to different people and has a long and We think of environmentalism as a new political move- contentious history. This course considers understandings and ment, but in fact it has a long history--one that has always measures of international development and poverty from an been engaged as well with questions about the relationship interdisciplinary perspective. Bridging different conceptions between different parts of the globe. This course traces the of development rooted in economic, social, cultural, political, history of environmentalism, ecology, and public health back psychological, and ecological traditions, it seeks to expose and to natural history collecting and bioprospecting in the eigh- compare the fundamental assumptions behind different ideas teenth century. The global history of ecological concern stays of how people and nations get ahead, indeed flourish. The at the center of this course, which discusses the Swedish, goal is to provide a clear sense of the chief objects, processes, British, German, Russian, South African, South American, actors, and policies of development in order to grapple with and North American contexts in subsequent centuries. We the important stakes held by these different approaches to will ask: How did scholars and activists around the world transforming societies and economies. Readings may include: conceptualize “the global”? Whose knowledge and which Amartya Sen, Frantz Fanon, Bill Easterly, and Herman Daly. rationality came to frame our environmental thinking? This seminar will try to untangle the social and intellectual dynamics between natural sciences and environmentally concerned citizens. Readings will include Carolus Linnaeus, Henry David Thoreau, Julian Huxley, Jan Smuts, and Garret Hardin.

12 fall f i r s t -y e a r interdisciplinary s e m i n a r s

Fantastic Voyage: Fear and Loathing: The Art and Science of Science Fiction Documentary and Subjectivity

FIRST-UG 79 4 UN MW 3:30-4:45 José Perillán FIRST-UG 81 4 UN TR 11:00-12:15 Rahul Hamid To many people the latest theories in science may seem Through an examination of Cinema Verité, Direct Cinema, distant and otherworldly. Complex mathematics and subject- and ethnographic film this course will examine the ways in specific technical jargon can form intimidating barriers to which filmmakers, writers and social scientists have sought modern scientific understanding. Why then are big science innovative ways to account for cultural difference and bias. fiction movies like Star Wars and Avatar so successful at the We will explore how “the other” is represented, and how box office? Is the sci-fi genre simply a social lubricant for the such representations always mirror the one doing the observ- acceptance of science? Do these fictional narratives propheti- ing. By Focusing on the 1950s and 1960s, we also trace how cally predict innovations within the sciences or do they actu- readings and films shift away from master narratives and ally serve to inspire these innovations? At its core, the sci-fi colonialist discourses. Class readings include Franz Fanon’s genre emerges from the interlacing of scientific rationality and Black Skin, White Masks; classic ethnographies by Marvin the escapism of story-telling, extrapolating current scientific Harris, Clifford Geertz, and Bronislaw Malinowski; Elizabeth knowledge into alternate realities. In this seminar we will Warnock Fernea’s Guests of the Sheikh, and Norman Mailer’s explore the genre of science fiction and its underlying literary Armies of the Night. Films include Robert Flaherty’s Nanook of and scientific elements. Students will write two expository the North, Robert Gardner’s Dead Birds, Jean Rouch’s Les maî- essays and a short story. Readings may include works by: tres fous, Chronicle of a Summer by Edgar Morin, Chris Marker Voltaire, Isaac Asimov, Ursula K. Le Guin, Arthur C. Clarke, and Jean Rouch, Frederick Wiseman’s Titticut Follies, David Orson Scott Card, Alice Sheldon, Kurt Vonnegut, Octavia and Albert Maysles’s Gimme Shelter, and Maya Deren’s Ritual Butler, H.G. Wells, Philip K. Dick, Mary Shelley, Robert A. in Transfigured Time. Class assignments will also include visits Heinlein, and Jules Verne. to the Museum of Natural History, Anthology Film Archives, and Union Docs. Happiness, Tranquility, and Mysticism

FIRST-UG 80 4 UN TR 11:00-12:15 Bradley Lewis After a century studying mental disease and pathology, contemporary psychologists have recently charted a “new” research agenda devoted to human happiness, flourishing, and positive emotions. This new science of happiness deploys modern quantitative and neuroimaging methods towards the goal of discovering the secrets of human well being. Already, this new science has many critics and adherents. In important ways, the emerging research harkens back to seminal work of William James on the Varieties of Religious Experience. At the same time it is rediscovering and reinvigorating ancient philosophical and religious traditions that go back for millennia. This seminar takes advantage of the renewed interest in the good life to compare and contrast modern “positive psychology” with its critics and with other wisdom traditions. Authors we read include Seligman, Csikszentmihalyi, Lyubomirsky, Freud, Maslow, Ehrenreich, James, Plato, Epicurus, Epictetus, Aurelius, Seneca, Montaigne, Origen, Saint Teresa of Avila, Merton, Buddha, Dogen, and Nhat Hanh.

2012 13 f i r s t -y e a r writing s e m i n a r s

of the many varieties of metamorphosis, such as those linked GALLATIN FIRST-YEAR STUDENTS ONLY with disguise and dissimulation; madness and dissolution; immigration and exile; sickness and healing; and self-creation Aesthetics on Trial that reflects self-knowledge. Students write academic essays

FIRST-UG 319 4 UN TR 6:20-7:35 Christopher Trogan that develop their own ideas in their own voices, in stages While cultures often like to see themselves reflected in that progress from freewriting and drafting to workshopping, the arts, groundbreaking art is frequently accompanied by revising and polishing. Throughout the course, we reflect on controversy. In literature, Nabokov was faced with charges writing itself as a transformation of subjective, ephemeral of obscenity. In photography, Mapplethorpe challenged the impressions into words fixed on paper (or shimmering in role of the visual arts as innocent representation. In film, cyberspace) through which we communicate with others. Riefenstahl blurred the line between art and propaganda by Readings include selections from Ovid’s Metamorphoses directing for Hitler while Pasolini directed what still remains (Humphries trans.) and a contemporary play based on it by one of the most shocking films in cinematic history. Through Mary Zimmerman; fairy tales, folk tales and contemporary critical writing focused on specific case studies we will inves- revisions (ed. Maria Tatar); Kafka’s The Metamorphosis; essays tigate such key questions as: Could there be a great work on neurological transformation and creative responses to it in of art that is morally flawed? What is the relationship, if any, Oliver Sacks’s An Anthropologist on Mars; and essays on immi- between aesthetic and moral values? What, after all, are aes- gration and exile in Letters of Transit (ed. Andre Aciman). thetic and moral values? Three shorter essays and a longer literary-critical paper are required. Texts may include selec- Love and Trouble tions from Plato, David Hume, Vladimir Nabokov, as well as FIRST-UG 345 4 UN TR 9:30-10:45 Susan Weisser contemporary writers such as Arthur Danto, Berys Gaut, All you need is love, love makes the world go around, and Kendall Walton, and Michael Tanner. love is a battlefield, so the songs tell us. What kinds of love are essential to our well-being, and why does love so often Artists' Lives, Artists' Work go wrong? This course will examine friendship, romance

FIRST-UG 323 4 UN MW 4:55-6:10 Yevgeniya Traps and marriage, and parenthood as forms of love that are What is the relationship between art and life, between the very personal and yet have social rules of their own, some- luxury of creating and the necessity of surviving? In this writ- times unspoken. We will use a selection of philosophical, ing seminar, we will explore the many ways artists’ experi- sociological and literary texts to see what they contribute ences and the circumstances of creation influence artists’ to our understanding of how love and trouble sometimes go work. How are artists shaped by the societies in which they together. Readings might include selections from Aristotle live? How do family background, historical events, political on friendship, Dan Savage on parental love, a history of movements, social disruptions, and celebrity influence our marriage, and the postmodern theorist Roland Barthes’ A creations? How do artists, in turn, shape their societies’ atti- Lover’s Discourse; literary texts include drama by Neil LaBute, tudes and values? Focusing on how art and writing reveal the memoir by Jamaica Kincaid, fiction by Jane Smiley and Yukio effects of race, gender, sexuality, and politics in the second Mishima, and poetry by Anne Sexton. Discussing what we half of the twentieth century, we will consider a number of think and feel about these representations of love will serve works in their contexts. Using writing as a way of thinking as the springboard for developing students’ writing on the critically, students will produce descriptive, analytical, and lit- subject. Students will compose descriptive and critical essays erary-critical essays. Readings may include works by Richard and workshop their writing in multiple drafts. Wright, James Baldwin, Allen Ginsberg, Bob Dylan, Sylvia Plath, Andy Warhol, Susan Sontag, and Joan Didion. The Faith Between Us

FIRST-UG 353 4 UN MW 8:00-9:15 Scott Korb Metamorphoses Look at the headlines, flip through a magazine, or click the

FIRST-UG 324 4 UN MW 3:30-4:45 June Foley link to your favorite blog, and increasingly you’ll find that This course explores the idea of metamorphosis, or trans- whether faith comes between us, separating one believer formation, by which humans become—among other things- from another, or lives between us, forming the glue that -stones, flowers, and stars; animals, gods, monsters; and holds communities together, is a question we all must face. members of the opposite sex. We read and write about some Through a consideration of a variety of contemporary reli-

14 fall f i r s t -y e a r writing s e m i n a r s gion writing—mostly from newspapers, popular magazines, a series of theoretical texts. Theorists may include Walter journals, and Web sites—this course will ask students to take Benjamin, Roland Barthes, Susan Sontag, John Berger, Dick their own excursions into faith and faithlessness, and through Hebdige, and Marjorie Perloff. Collages may include poetry a process of writing, workshopping, and the all-important by T. S. Eliot, Susan Howe, and Theresa Hak Kyung Cha, as rewriting, create the stories that, in Joan Didion’s words, “we well as artworks by Hannah Hoch, Romare Bearden, and tell ourselves in order to live.” Readings may include works Robert Rauschenberg. by Reza Aslan and Karen Armstrong, Paul Elie and Marilynne Robinson, Peter Manseau and Darcey Steinke, Christopher The Idea of America: Hitchens and Chris Hedges, Sam Harris, and Irshad Manji. What Does it Mean?

FIRST-UG 365 4 UN MW 3:30-4:45 Hannah Gurman Wilderness and Civilization This class will examine “America” as a complex, historically- FIRST-UG 357 4 UN TR 4:55-6:10 Andrew Libby rooted, and malleable idea, which writers, social scientists, The ruin of the environment begins with agriculture. With politicians, and the state have shaped, changed, and critiqued this assertion Paul Shepard sharpens a modern tradition of to fit their own contexts and purposes. We will explore the radical environmental thinking that ranges from Rousseau to historical roots and shifting conceptions of the idea of America Elizabeth Kolbert. In this course, we will consider some of through analysis of political treatises, poetry, essays, and offi- the basic issues behind our urges to protect, and squander, cial government documents from the pre-colonial period to the environment. If the environment includes wilderness, the present. Approaching “America” as both a nation-state how does such wildness relate to our own sense of who and an empire, and considering how it has been imagined by we are? How wild, how civilized, are we? Is homo sapiens those within as well as outside its borders, we will analyze the hard-wired for violence? To what extent do our current idea of America not only in the context of life in the United forms of economic and social organization allow or prohibit States, but also in the context of global development, envi- us from accommodating ourselves to the world around us? ronmental crises, and American foreign policy. Students will In this seminar, we will write about these issues and imagine write informal response papers as preparation for drafting and realistic alternative futures. Authors may include Matsuo revising 3 essays over the course of the semester, including a Basho, Jean-Jacques Rousseau, Henry David Thoreau, Black literary critical essay. Texts will include works by John Locke, Elk, Darwin, Sigmund Freud, Franz Kafka, Elizabeth Bishop, Ralph Waldo Emerson, Frederick Douglass, Walt Whitman, Edward Abbey, Paul Shepard, Elizabeth Kolbert, Alice Walker, Jose Martí, Henry Luce, Eugene Burdick, and Naomi Klein, as and Cormac McCarthy. well as official documents of U.S. Policy.

Collage: Writing the Self From Art to Life and Back FIRST-UG 375 4 UN MW 9:30-10:45 Robert Huddleston FIRST-UG 361 4 UN MW 2:00-3:15 Eugene Vydrin Sylvia Plath writes: “There is no terminus, only suitcases / This writing seminar will explore the implications of making Out of which the same old self unfolds like a suit / Bold and the new from the ready-made, of constructing one’s own shiny, with pockets of wishes, / Notions and tickets, short from what was—and remains—somebody else's. Collage circuits and folding mirrors.” Rather than simply telling the aims at reintegrating art and life, so we will examine collage truth, autobiography is a complicated mirage of wish fulfill- works that comment on existing society, critique its values ment and creative self-fashioning. As Plath suggests, a life and forms of representation and demand their revision. By can never be fully told; its narration is an ongoing journey of selecting heterogeneous elements from remote areas of self-discovery where the lies one tells and the style one uses culture, high and low, and juxtaposing them on a single plane, are just as revealing as the truth about what happened. In this collage disrupts conventional associations and traditional nar- course, we consider how writers tell the story of themselves ratives, collapses oppositions, scrambles classifications, and by selecting certain events and images, how writers use their levels hierarchies. What new meanings do the fragments and writing to come to self-awareness, and how writers cover up quotations acquire from these radical juxtapositions, and how or omit important facts in the construction of selves. Students does their assemblage contest the mythologies of the culture will write and revise three essays and a longer literary- from which they were taken? The class will consist of several critical essay. Readings may include selections from works by case studies in verbal and visual collage placed in relation to a such authors as St. Augustine, Dostoevsky, Rimbaud, James set of political and aesthetic ideas, which we will derive from Baldwin, Robert Lowell, Elizabeth Hardwick and Sylvia Plath.

2012 15 f i r s t -y e a r writing s e m i n a r s

Utopia: process. Readings may include works by Susan Bordo, Lisa The Logic and Ethics of Imagining New Worlds Duggan, Michel Foucault, Frederick Douglass, Laura Mulvey

FIRST-UG 379 4 UN TR 8:00-9:15 Tara Gellene and others. In the sixteenth century, Thomas More, inspired by Plato’s Republic, imagined his own ideal state. Instead Walking and Writing in New York City of Eutopia, which means ‘happy place,’ More ironically FIRST-UG 384 4 UN TR 2:00-3:15 Helena Ribeiro named his imaginary island Utopia, which means simply ‘no Writing and walking are both peripatetic activities: we wander place.’ More’s influential book eventually lent its name to a through our ideas, making observations along the way, often diverse set of texts and visions. The concept of utopia now taking a detour or two before arriving at our conclusion. This carries both meanings and embodies the logical and ethical class will take the streets of New York as its starting point— tensions that plague metaphorical (and sometimes geographi- our “primary text” will be the City itself—and we will read cal) borderlands between the ideal and the real. In the 20th the ways in which it has been walked through on paper, often century authors and theorists began to seriously weigh in the form of descriptions of seeing it for the first time, or the benefits and dangers of utopian thought, as feminists, re-seeing it as if it were the first. Through a series of writing Marxists, environmentalists, and cosmopolitans continued assignments, including informal journals and analytic, revised to imagine new and complex utopias. In this course, we will essays, students will contextualize and historicize their jour- examine the long tradition of utopian writing and thinking, neys through these texts–and through the city–as we come analyzing its aesthetics and logic, uncovering and assessing its to understand how New York City got from “there” to recurring themes and assumptions, and evaluating its utility “here.” Readings may include works by Paul Dunbar, Gloria and ethics. Students will write and revise four essays, each Naylor, Walter Benjamin, W.J.T. Mitchell, Michel de Certeau, of which emphasizes a particular analytic strategy. Readings Walt Whitman, Edgar Allan Poe, Diane Di Prima, Joyce may include work by Plato, Augustine of Hippo, Thomas Johnson, Rita Mae Brown, James Baldwin, Charles Brockden More, Edward Bellamy, Ernest Callenbach, Charlotte Perkins Brown, Henry James, José Martí, Hart Crane, Frank O’ Hara, Gilman, Frederic Jameson, Karl Popper, Krishan Kumar, B.F. Nathanael West, Jacob Riis, and others. Skinner, and George Orwell. Contemplation and Culture The Body Politic and the Politics of the Body FIRST-UG 385 4 UN TR 11:00-12:15 Jean Gallagher in American Culture There is a significant body of cultural work that seeks to FIRST-UG 382 4 UN MW 11:00-12:15 Neil Meyer describe the experience or results of contemplation or When a group of English Puritans sailed for New England, meditation, offer instruction in its various methods, or to John Winthrop told them they would become "members of induce or encourage a contemplative state. This course will the same body." As Winthrop assigned some to be the heart, examine texts and images from a number of fields (includ- the head, and the limbs of their new colony he inaugurated ing spiritual autobiography, sermons, psychological studies, an imagination of the American body that runs from the philosophical writing, painting, and poetry) and from a range first colonial encounters to today. This class will examine of religious and philosophical traditions (Christian mysticism, the complex work of creating, describing, writing, and quite Daoism, Buddhism, Sufism), which represent some aspect of simply "inventing" bodies within American culture. Through contemplative experience. Readings may include works by analytic and reflective writing, we will consider how the dis- James Austin, Karen Armstrong, Meister Eckhart, Teresa of courses of history, literature, psychology, and politics employ Avila, Simone Weil, William James, Rainer Maria Rilke, William images and ideas about the body to represent the nation. Our Blake, Eihei Dogen, Lao-tzu, Walt Whitman, Gerard Manley own writing will explore the complex issues that arise when Hopkins, Gary Snyder, Dante Alighieri, Jelaluddin Rumi, and considering bodies and their representation, including repre- Basho; visual art may include work by Duccio, Mark Rothko, sentations of slavery, the women’ s rights movement, and the Barnett Newman, Wassily Kandinsky, and Bill Viola. Writing birth of the modern homosexual identity. Writing assignments in the course will include a daily journal (which will include will include a course blog, critical and descriptive essays, and observations of assigned readings or images), four shorter feature workshops and revision as key parts of the learning essays (4-5 pages), and a longer critical essay (6-8 pages).

16 fall f i r s t -y e a r writing s e m i n a r s

Listening to Rebel Voices: contextualize our contemporary ideas about the authentic, From Medieval Peasants to Contemporary Protesters and we will seek to understand how authenticity influences

FIRST-UG 386 4 UN TR 3:30-4:45 Sharon Fulton the way we think about identity and culture. We will use different forms of essay writing as a way of thinking critically Shouts, yells, and cries cause social revolutions. This course about these issues. Three shorter essays and a longer critical will look at two shattering moments in European History, essay are required. Texts for this course will include a mix- The Peasants’ Revolt of 1381 and the French Revolution of ture of critical and creative works, and may include works 1789-99, and will study how rebel voices spread from the by Andrew Potter, Zadie Smith, Walter Benjamin, Percival streets into formal discourse. Mladen Dolar has argued that Everett, Woody Allen, and Elia Kazan. “The principle of orality, the use of the living voice,” has long been used to protest corruption. As the rebel voice resounds in popular imagination, it eventually comes to articulate the Debating Science: ingrained prejudices and hopes of citizens in every social stra- Great Scientific Controversies in Context tum, transforming into a symbol with the potential to unify or FIRST-UG 388 4 UN MW 12:30-1:45 José Perillán split apart a people. We will trace the impact of the resonant Is light a wave, a particle, or both? Were the ‘Bone Wars’ con- voice of Wat Tyler, the rebel leader in The Peasants’ Revolt, troversies of the late nineteenth century good for the study a rebellion that threatened to topple London and overthrow of paleontology? Does quantum physics deny the existence of the reigning government of Richard II. We will read late physical reality? Which is the more powerful driver: nature or fourteenth-century rebel letters, historical chronicles, and nurture? Will the universe continue expanding forever or will relevant excerpts from poems by Geoffrey Chaucer and John it ultimately end in a fiery collapse? Tesla vs. Edison: is AC or Gower. Reading and writing about current political, literary, DC more likely to cause death by electrocution? These are and sound theory will frame our discussions of this divisive some of the greatest debates that have gripped the scientific leader’s clarion call. In considering the historical influence of community over the past two hundred and fifty years. Many Tyler’s cry for social justice, we will look at the ways in which of these debates have been restricted to a healthy dialogue Edmund Burke, Thomas Paine, and Robert Southey reinter- within the scientific community but on occasion they have preted the unique contribution of Wat Tyler during the years sparked lively and even ad hominem exchanges between of the French Revolution. In their essays, students will analyze scientists. In this seminar we will explore the nature of these these historical rebellions and may pursue a variety of topics debates within their appropriate contexts. No mathematical related to modern and contemporary rebel voices: sectarian or scientific background is necessary; a sincere interest in sounds during the Troubles in Northern Ireland, the music of the subject matter is the only pre-requisite for this semi- 1968 and 1969, Occupy Wall Street’s ban on megaphones, nar. Students will write, workshop and revise three shorter the use of social media in the Arab Spring, or the role of tex- expository essays and a longer literary critical essay. Readings ting during the recent British Riots of 2011. may include works by: Albert Einstein, Niels Bohr, Thomas Henry Huxley, Samuel Wilberforce, Harlow Shapely, Heber Keeping It Real: Curtis, Othniel Marsh, and Edward Cope, Jill Jonnes, Manjit Thinking about Authenticity Kumar, Kevin Davies, Brenda Maddox, Edward Lawson, and

FIRST-UG 387 4 UN MW 9:30-10:45 A. Lavelle Porter Tom Rea. In his book The Authenticity Hoax (2010), Andrew Potter refers to authenticity as “one of the most powerful move- Translation: ments in contemporary life, influencing our moral outlook, History, Theory, and Practice political views, and consumer behavior.” Scholars have linked FIRST-UG 389 4 UN MW 4:55-6:10 Kathryn Vomero Santos the concept of authenticity to various phenomena including The problems and pleasures of translation have shaped the mass production and marketing of material goods, the cultural, economic, intellectual, religious, and diplomatic development of audio-visual media, the move from agrarian interactions for centuries. Emily Apter has noted that “the to urban ways of living, and populist politics. This course will 9/11 tragedy, followed on its heels by the Iraq invasion and explore the idea of “keeping it real” in its various manifesta- occupation, has contributed to the focus on translation tions, focusing on how the concept of the authentic has been in film, fiction, academic research, and the media.” In an used (and abused) in contemporary advertising, music, litera- increasingly globalized and technologized world, we translate ture, visual arts, religion and politics. In this course we will across linguistic and cultural boundaries all the time. Looking

2012 17 f i r s t -y e a r writing s e m i n a r s at translation as a powerful dynamic in our daily interactions will explore the long and fraught history of military-civilian helps us to understand the world in which we live. In this relations. We will begin by analyzing excerpts from literary seminar, we will explore many aspects of cross-linguistic works by Homer, Shakespeare, and First World War poets, in communication, including language acquisition, textual trans- order to understand how our cultural perceptions of return- lation, professional interpreting, and the role of technology in ing combatants are constructed, in terms either of heroism, translation. In addition to reading and comparing translations adventure, sex appeal, and political authority, or of trauma, of literary texts, we will engage with theoretical works about alienation, and victimization. We will then examine literary, translation, statements written by translators about their craft historical, and sociological accounts of the return of American and profession, and recent news articles about the politics soldiers from Vietnam, in order to analyze the lasting impact of translation and translation in politics. In various essays of the war on U.S. culture and politics. Case studies will and projects, students will be encouraged to pursue a range include the Vietnam Veterans Memorial in Washington D.C., of topics that reflect their interests and curiosities about literature and films such as Martin Scorsese’s Taxi Driver and language and intercultural exchange. Readings may include Tim O’Brien’s The Things They Carried, as well as historical works by Apter, David Bellos, Edith Grossman, Octavio Paz, accounts of the role of veterans in 1960’s anti-war and civil and Lawrence Vanuti. rights movements. Students will write several shorter essays and a longer critical essay that investigates an issue relevant The Return of the Soldier to the relationship between military and civilian society since World War Two, such as the impact of the GI Bill(s), the FIRST-UG 390 4 UN MW 12:30-1:45 Joanna Scutts diagnosis and treatment of PTSD, or the role of online social What happens to soldiers and to society when war is over networks in mediating soldiers’ experiences and memories. and troops come home? How are soldiers and soldiering rep- For final reflective essay, you will be asked either to contact resented and understood by civilians? Do these views square and interview a veteran or to review a recent work by a with how soldiers see themselves? In this writing seminar we veteran author.

18 fall t r a n s f e r s t u d e n t r e s e a r c h s e m i n a r s

TRANSFER STUDENTS ONLY Working FIRST-UG 803 4 UN MW 9:30-10:45 Chinnie Ding Myths and Fables in Popular Culture Visible and invisible, lonesome and collaborative, inspired and endured, labor makes and maintains the world we live in. To FIRST-UG 801 4 UN MW 11:00-12:15 Patricia Lennox learn about work is to learn how most people spend most of Myths, fables, folk tales, and fairy tales are universal. Their the day, securing means, pursuing dreams, existing in active heroes, villains, gods and monsters are as old as storytelling relation to other people. How do we come to choose the and as new as the latest award-winning film. In this class we work we do, and how to assess and redress the injustices will examine some of these stories and their histories, watch- that often come with the division of labor? What are the ing the shifts in emphasis as they are retold and adapted, ethical and economic relationships that bind us to the faraway but also considering why certain mythic figures, such as the strangers, or familiar faces we greet everyday, upon whose wizard, gain greater currency in contemporary tales. Our efforts our own routines rely? How have artists and writers research will focus on old and new versions of tales, their depicted working people, and in what ways does creative cultural construction and the critical discourse surround- work fit into or fall outside the economy at large? How has ing them. It will serve as the springboard for a series of work structured our notions and experience of time? In this exercises focused on research methods, several short writ- course, students develop individual research projects across ing assignments, and a major research paper. Sources will diverse disciplines, such as anthropology, philosophy, art his- include, but not be limited to, selections from works by: tory, law, and critical theory, to explore the challenges that J.R.R. Tolkien, Disney, Ovid, Apuleius, Charles Perrault, the work has posed to political thought, political action, and aes- Brothers Grimm, Angela Carter, Bruno Bettelheim, Joseph thetic representation alike. Readings drawn from literature, Campbell, Jack Zipes, and Marina Warner. visual culture, intellectual history, and globalization discourse will be supplemented by artworks, films, and the occasional Coming Home: excursion. Identity and Place

FIRST-UG 802 4 UN MW 2:00-3:15 Jennifer Lemberg In this writing seminar, we will interrogate the concept of returning home--to places known briefly or well, to the deeply familiar or merely imagined. Depictions of going home in the aftermath of major historical events figure in much recent literature, and through writing and class discussion, students will explore the effects of violent upheavals of the nineteenth and twentieth centuries—including, for example, the Holocaust, the Vietnam War, and American Indian disloca- tion—through the efforts of those affected by these events to return to sites from which they were displaced. We will also consider the relationship between identity and place, and the tensions that can develop between collective versus individual ideas of the self. The ways in which contemporary authors treat the theme of "coming home" across boundaries of time and space and the role this notion plays in the construction of contemporary ethnic, racial, and national identities will serve as our impetus for frequent exploratory writing, three formal essays, and a final research paper. Readings will include works by Eva Hoffman, Jonathan Safran Foer, Tim O’Brien, Danielle Trussoni, Sherman Alexie, James Welch, and Sharifa Rhodes-Pitts, among others, as well as theoretical texts and short films.

2012 19 interdisciplinary s e m i n a r s

Sophomores Only Sophomores and juniors Only

Discourses of Love: American Narrative I

Antiquity to the Renaissance IDSEM-UG 1592 4 UN R 3:30-6:10 George Shulman IDSEM-UG 1122 4 UN TR 11:00-12:15 Bella Mirabella FULFILLS: SOCIAL SCIENCE FULFILLS: HUMANITIES, PREMODERN, EARLY MODERN The premise of this course is that there is no great political This course explores the impulse to define, understand, philosophy in the American tradition—the Federalist Papers contain, praise, analyze, lament, restrain, and express love. do not rival Plato or Marx—but that profound thinking about Through a study of philosophy, poetry, drama, religion, art, politics does occur—in the literary art of Melville, Faulkner, and music we will endeavor to discourse on the meaning of Ellison, Mailer, and Morrison among others. Moreover, for- this profound emotion. However, in order to understand the mally "political” writers, like Madison and Hamilton in The place of love within the lives of humans, we need to look at Federalist Papers, present a world that seems antithetical to love in its historic, cultural, social, and political contexts from the world presented by, say, Melville and Morrison: one depicts Sappho and Plato to Shakespeare. We want to consider Love's rational bargaining and self-interested contracts among men multiple roles with regard to desire, seduction, betrothal, in markets and legislatures, whereas the other depicts racial marriage, manners, morals, political power, and the pursuit of and sexual violence, rape and slavery, in domestic spaces or wisdom, as well as its role in class, gender, and race. Possible on "the frontier." One depicts rationality and progress, the readings could include Plato’s Symposium, mystical writings, other madness and tragedy. The literature thus makes visible the poetry of Sappho, the stories of Marie de France, selec- what is made invisible by prevailing forms of political science tions from Dante, as well as two plays of Shakespeare. and American political thought, not only the power of race and gender, but also the deep narrative forms structuring the culture. Our goal, then, will be to compare prevailing forms of political speech and American political thought, to American literary art. How do literary artists retell the stories Americans tell themselves about themselves? How does that art re-orient people toward the assumptions, practices, and tropes that rule their world and govern what "American" means? To pursue these questions we focus on Herman Melville’s Moby Dick, and Toni Morrison’s Beloved, while surrounding and contextualizing each text with contemporary political speech and political theory.

20 fall interdisciplinary s e m i n a r s

Sophomores and juniors Only Sophomores, Juniors, & Seniors

Empire, Race and Politics Literary Forms and the Craft of Criticism

IDSEM-UG 1712 4 UN T 6:20-9:00 George Shulman IDSEM-UG 1061 4 UN W 12:30-3:15 Sharon Friedman FULFILLS: SOCIAL SCIENCE FULFILLS: HUMANITIES The goal of this course is not to define kinds of empire or to This seminar focuses on the study of literature and literary narrate its historical transformation, though we will consider criticism. Through close reading of a range of literary forms, these issues. Our goal, rather, is to consider how "empire" including short stories, novels, plays, and narrative essays, has been represented, defended, and opposed in American we identify the conventions that characterize each genre politics. We will focus especially on anti-imperial voices, to and that invite various strategies of reading. In addition to consider how they depict what "empire" is and why it is dan- the formal analysis of each work, we will consider theoreti- gerous or wrong, as well as how they justify their opposition cal approaches to literature—for example, new historicism, and imagine alternatives. We will move through the history of postcolonial studies, feminist and gender analysis, and psycho- such voices, from critics of the 1787 Constitution to Henry analytic criticism—that draw on questions and concepts from Thoreau and other abolitionist critics of the Mexican War and other disciplines. Attention will be given to the transaction then of the Spanish-America War, and from critics of World between the reader and the text. The aims of the course are War Two to critics of Vietnam. We will analyze how argu- to encourage students to make meaning of literary works and ments about and against empire are related to arguments to hone their skills in written interpretation. Authors may about capitalism, race, masculinity, modernity, and democ- include Poe, Melville, Chekhov, Hawthorne, Bellow, Beckett, racy. We will explore the recurring patterns of metaphor, Baldwin, Woolf, Morrison, Conrad, Gordimer, Achebe, and narrative, and argument in this chorus of voices, and analyze Erdrich. the problems, dangers, and variants in their language. (For instance, do critics remain too much within a nationalist frame by telling nostalgic stories of loss and decline? Are they unintentionally imperialist in the kinds of racial priveleges they assume? Do their alternatives to empire enact a wish to escape from valuable aspects of modernity or of democracy?) The course readings end with the Vietnam War, but final projects will consider how contemporary critics of empire do or should relate to these inherited idioms. Readings include J.M Coetze's Waiting for the Barbarians; Norman Mailer's Armies of the Night and Why are We in Vietnam?; poetry by Allan Ginsberg, speeches by SDS leaders and Eugene McCarthy, treatises by C. Wright Mills, David Harvey, and Talal Asad; essays by Audre Lorde and Gloria Anzaldua.

2012 21 interdisciplinary s e m i n a r s

OPEN TO ALL The Darwinian Revolution IDSEM-UG 1156 4 UN MW 2:00-3:15 Gene Cittadino FULFILLS: SCIENCE Bodily Fictions Darwin’s theory of evolution by natural selection may be the IDSEM-UG 1128 4 UN R 3:30-6:10 Laura Ciolkowski single most influential, and controversial, scientific theory Freud once famously announced that femininity is a riddle ever proposed. This course will examine the origin, nature, and the female body is a problem. Some years later, feminist and consequences of Darwin’s theory, with an emphasis on philosopher Simone de Beauvoir insisted that the problem interrelationships among the social, cultural, and intellectual is not the female body as such but rather the fictions we dimensions of the scientific enterprise. Topics include the produce about the body. In this course, we will focus simul- connections between Darwinian theory and social, political, taneously upon two kinds of bodily fictions: Works of literary and moral discourse in Victorian Britain; initial and more fiction with the body as their subject; and the various social recent scientific and public controversies; resistance to the fictions and cultural representations of the body that are to theory by conservative Christians; applications and misap- be found in a wide range of scientific, sociological, and critical plications of the theory, such as Social Darwinism, eugenics, texts. Some of the key questions that will structure our work and sociobiology; and the influence of Darwinian thought on include: How has our understanding of male and female bod- literature and the arts. In addition to the Origin of Species and ies been shaped over time? What does it mean to explore excerpts from Voyage of the Beagle, Descent of Man, and other the body as a historical rather than a biological object? How Darwin writings, readings will likely include Kurt Vonnegut’s do we define deviant bodies and which bodies get to count Galapagos, selections from Malthus, Spencer, and Huxley, as normal? How does our understanding of the opposition and recent works by Richard Dawkins, E.O. Wilson, Stephen between Nature and Culture structure our beliefs about Gould, Marlene Zuk, and Sarah Hrdy, among others. gender and the body? Authors may include: Sigmund Freud, Franz Kafka, Susan Bordo, Luce Irigaray, Michel Foucault, Culture as Communication Margaret Atwood, Audre Lorde, and Joan Brumberg. IDSEM-UG 1193 4 UN MW 11:00-12:15 Vasu Varadhan FULFILLS: SOCIAL SCIENCE Free Speech and Democracy This course examines the concept of culture through its

IDSEM-UG 1144 4 UN R 6:20-9:00 Paul Thaler forms of communication. The shift from orality to literacy to FULFILLS: SOCIAL SCIENCE electronic media and now digital media has important con- The tension between free expression and social control has sequences for the social, political, and economic structures shadowed the Great American Conversation since the birth within a culture. If we take as axiomatic that every culture of this country. The constitutional ideal that our government wishes to preserve itself through its forms of communication, "shall make no law" abridging free speech has given way, in we then need to ask ourselves which forms of communica- fact, to laws that limit discussion, ostensibly for the public tion are best suited for this purpose. What happens to cul- good. Likewise, new media technologies advance our ability tures when traditional forms of communication are forced to to access and exchange ideas and information, but raise new compete with the newer technologies? What do we mean by questions as to the limits of such dialogue. This course, then, “knowledge” in the age of information? The impact of written addresses the delicate balance between free speech and narrative on orality will be discussed as well as the changes democracy, guided by seminal readings from Milton, Locke, brought about by the invention of the printing press. We will Meikeljohn, among others, as well as important Supreme examine the development of electronic media, including the Court decisions that have critically shaped First Amendment newer technologies such as the Internet, and analyze their rights in regard to hate speech, pornography, corporate effects on individual and cultural levels. Readings may include control of mass media, the student press and the rights of Plato’s Phaedrus, Ong’s Orality and Literacy, Achebe’s Things journalists. With this foundation, we ask: Are there any forms Fall Apart, McLuhan’s Understanding Media, and Carr's The of free speech that should be restricted? If so, which? And, Shallows. There will also be selected handouts on the impact who should decide? of social media in the political, social and economic spheres.

22 fall interdisciplinary s e m i n a r s

Narratives of African Civilizations life. Although the end of the Cold War relaxed the tensions

IDSEM-UG 1197 4 UN M 3:30-6:10 Dan Dawson somewhat, the combined arsenals of existing nuclear powers FULFILLS: HUMANITIES, PREMODERN, GLOBAL are still sufficient to destroy most of life on this planet many African civilizations speak to us as much through monumental times over, and controversies continue over nuclear weapons edifices, visual artifacts, sign systems, oral tradition, and films programs in Iran and North Korea. How did this extraordi- as they do through alphabetic texts. In their varied expres- nary state of affairs come about? Why were the bombs made sions, these societies, ancient and contemporary, present us when and where they were made? Why were they used? Did with new ways of knowing. When we encounter these social the individuals involved understand the destructive potential imaginations through their multiple texts, the experience is of these new weapons and ponder moral questions involving reflexive, double-imaged, because of the complex interaction their manufacture and use? Did they anticipate the nuclear of the perceptions of Africa with the West’s own image of arms race that has resulted. How does this episode fit into itself. Texts may include hieroglyphics, architectural symbol- the longer history of the relationship between science and ism, music, visual art, epics, folktales and proverbs, cos- warfare? How were both hopes and fears transferred to mologies and rituals (such as the ancient Egyptian Book of the the debates over nuclear power? Readings will likely include Dead), The Epic of Sundiata (which explores medieval Ghana Rhodes, The Making of the Atomic Bomb, Hachiya, Hiroshima and Mali), and the society of the Dogon and its extraor- Diary, Gordin, Red Cloud at Dawn, and a variety of selections dinary cosmology. African modernist art and writing will concerning nuclear proliferation, the disarmament move- also be represented, through novels like Conde’s Segu and ment, and nuclear power. Dangarembga’s Nervous Conditions, and films like Keita, Finzan and Ceddo. Using ideas both ancient (African Cosmology of Narrative Investigations I the Bantu-Kongo by Fu-Kiau) and contemporary (In Search IDSEM-UG 1215 4 UN TR 11:00-12:15 Stacy Pies of Africa by Manthia Diawara), African civilizations will speak FULFILLS: HUMANITIES, EARLY MODERN through their own words. How does narrative create a sense of identity and give value to our lives? What are the ethical implications of looking at Tragic Visions knowledge as a construction of narrative? The concept of

IDSEM-UG 1202 4 UN TR 3:30-4:45 Bella Mirabella narrative is currently used across disciplines to describe how FULFILLS: HUMANITIES, PREMODERN, EARLY MODERN people, texts, and institutions create meaning. This course This course studies the nature of the tragic form in dra- will explore the idea that stories organize our thinking and matic literature and performance, as well as its role in our lives. We will begin with Plato’s ideas on tragedy and human existence. Focusing on two of the great periods of Aristotle’s Poetics, which later narrative explorations emu- tragedy in Western literature and culture—ancient Greece late and challenge. Our reading of Cervantes’s Don Quixote, and Renaissance England—we read selected tragedies by Diderot’s Jacques the Fatalist, and modern fictions will inves- Aeschuylus, Sophocles, Euripides, and Shakespeare as well tigate the ways fictional texts radically reinvent literary forms philosophical considerations of the tragic by, for example, and question social conventions. The works of critics such Aristotle and Nietzsche. We examine these works in their as Bakhtin, Chatman, Schafer, and Iser will reveal how nar- social, political, and cultural contexts, while considering ques- rative has been adopted as both a theoretical model and a tions such as gender, power, fate, free will, and the origins and methodology within a variety of fields. Students will carry out evolution of tragedy as a literary and political genre. Readings projects that explore narrative trends within their particular might include Sophocles' Oedipus, and Euripides' Medea, as areas of interest. well as Shakespeare's Macbeth, or King Lear. Special attention is paid to performance. Doing Things with Words: Arts and Politics Across Cultures Origins of the Atomic Age IDSEM-UG 1216 4 UN T 3:30-6:10 Nina Cornyetz FULFILLS: HUMANITIES, GLOBAL IDSEM-UG 1207 4 UN TR 11:00-12:15 Gene Cittadino FULFILLS: SCIENCE The course will focus on an eclectic group of mostly contem- The uranium and plutonium nuclear fission bombs dropped porary, politically-directed writers and other artists primar- on Hiroshima and Nagasaki in 1945 permanently altered the ily from various ethnic or racial minority backgrounds. We world we live in. Fear of nuclear annihilation became a fact of begin with performance proper, and then narrow our focus

2012 23 interdisciplinary s e m i n a r s to discuss what elements of performance are incorporated strife and controversy. This class uses narrative theory to into narrative text to produce “performative writing.” Does map out the terrain of these conflicts and explore compet- minority positioning affect the content, structure, and man- ing approaches to psychiatric concerns. We start with an ner in which these artists perform or write, and in turn, how overview of narrative theory as relevant to issues of mental they are received? How might sexual/gender politics nuance difference and suffering. Key narrative topics we discuss that positioning? Rather than seeking division under the rubric include plot, metaphor, character, and point of view. With of “national literature,” or the multicultural versions such this theory as our guide, the alternative approaches we con- as “African-American” or “Asian-American” writers/artists, sider include biopsychiatry, psychoanalysis, cognitive therapy, the course will look for structural and contextual models family therapy, feminist therapy, spiritual approaches, and that cross these categories - concern with oral histories and creative approaches. We conclude with a consideration of family-community genealogies, for example. We will also ana- the Icarus Project idea that sometimes madness is best seen lyze how specific power politics inform these artists’ activi- as a “dangerous gift.” ties across their broadly diverse sociocultural, ethnic, and geopolitical contexts. Texts may include: fiction by William Literary and Cultural Theory: Faulkner, Nakagami Kenji, Ruth Ozeki and Toni Morrison, and An Interdisciplinary Introduction theoretical selections from Jacques Derrida, Antonin Artaud, IDSEM-UG 1314 4 UN MW 4:55-6:10 Sara Murphy Judith Butler. FULFILLS: HUMANITIES In this course, we will examine several questions that arise for Militaries and Militarization students interested in the relation of theory to interdisciplin-

IDSEM-UG 1300 4 UN TR 4:55-6:10 Antonio Lauria-Perricelli ary study. What is theory essentially? How does it help us to FULFILLS: SOCIAL SCIENCE develop approaches and shape questions for study? What are What are the effects of a large, permanent military upon the some influential theoretical schools and theoreticians? What political economy and society of the United States? What do they say and how might they be related to one another? are the effects on other countries of their militaries? What We will proceed through readings from Structuralism to are the effects on local societies of US military bases? What Post-structuralism, focusing on language, feminism, psycho- is the role of the various militaries in the history of colonial/ analysis, deconstruction and interpretations of power and neo-colonial control, and in contemporary empire? How discourse. Authors considered may include Levi-Strauss, are military establishments and violence linked to ethno- Roland Barthes, Michel Foucault, Jacques Derrida, Jacques national, class and other social movements—and to the Lacan, and Luce Irigaray. repression and domination of such movements? What does a military do to/for the people who staff it? What are the Jung and Postmodern Religious Experience implications of militarization in such areas as gender, human IDSEM-UG 1328 4 UN TR 9:30-10:45 Lee Robbins rights, the environment, sports, knowledge and learning? FULFILLS: HUMANITIES What is the role of militias, “para-militaries”, and guerrillas? C.G Jung wrote: “I am not addressing myself to the happy What methods can social or popular movements use in their possessors of faith, but to those many people people for attempts to subvert, paralyze, eliminate or otherwise struggle whom the light has gone out, the mystery faded, and God is against militaries, military bases, and weapons? Texts may dead.” The course unfolds around the question: How does include: Lutz, Homefront: A Military City and the American a person locate meaning in the postmodern age when tradi- Twentieth Century; Enloe, Maneuvers: The International Politics tional belief systems have been emptied of symbolic author- of Militarizing Women’s Lives; McCaffrey, Military Power and ity? In his discovery of the symbol making function within Popular Protest: The U.S. Navy in Vieques, Puerto Rico; and the human psyche, Jung offers a possible answer. Variously Green, Fear as a Way of Life. described as the religious, imaginative or creative instinct, this psychological function offers the possibility of losing and Mad Science/Mad Pride finding multiple meanings throughout the cycles of life. We

IDSEM-UG 1311 4 UN T 3:30-6:10 Bradley Lewis begin by defining pre modern, post modern and post secular FULFILLS: SCIENCE within their historical context with special attention to the In recent years, questions of madness, psychiatry, and psy- role of language. We identify the influences that shaped Jung’s chopharmaceuticals have been the subject of considerable discovery, focusing on the classical elements that characterize

24 fall interdisciplinary s e m i n a r s a religious experience. Finally, we look to figures in the history Latinos and the Politics of Race of culture that have lost and found meaning, Jung himself in IDSEM-UG 1394 4 UN MW 9:30-10:45 René Poitevin his Red Book and the Buddha. Readings may include selec- FULFILLS: SOCIAL SCIENCE tions from the Collected Works of C.G. Jung; Julia Kristiva,This This course takes a look at the history of racial and ethnic Incredible Need to Believe; Nietzsche, The Gay Science; William relations in the U.S. from the standpoint of Latinos. We will James, The Varieties of Religious Experience; Gaston Bachelard, explore how recent changes in Latino demographics, now the Poetics of Reverie; Ernst Cassirer, Language and Myth; Caputo’s largest minority group in the U.S., are challenging our notions The Prayers and Tears of Jacques Derrida and On Religion; of whiteness, blackness, and the dominant White-Black race Richard Kearney, Anatheism. paradigm. Are Latinos the ‘new whites’? Or are they becoming instead the ‘new blacks’? What does this mean for politics Creative Democracy: and public policy debates? Through memoirs, fiction, videos, The Pragmatist Tradition and social science theory, we will trace the history of racial- IDSEM-UG 1381 4 UN W 3:30-6:10 Bill Caspary ization in the U.S. (from slavery to our latest Latino immigra- FULFILLS: SOCIAL SCIENCE tion cycle) in order to interrogate both the fluidity and the From Emerson, through William James, to John Dewey, and challenges confronting race relations in U.S. society. Readings beyond, Pragmatism has been a uniquely American contri- will include Michael Omi, David Roediger, Leo Chavez, James bution to political theory and philosophy. Pragmatism, like Baldwin, Toni Morrison, Lisa Lowe, Clara Rodriguez, Piri classical political theory, is concerned with politics as a way of Thomas, and Samuel Huntington. achieving the good life rather than viewing politics narrowly in terms of elections and governments. Through texts by Politics and the Gods and about the Pragmatists, especially Dewey, the course will IDSEM-UG 1417 4 UN TR 6:20-7:35 Aaron Tugendhaft introduce theories and practices of participatory democracy, FULFILLS: HUMANITIES, PREMODERN economic democracy, civic journalism, progressive education, What is the relationship between political life and the divine? participatory action research, and conflict resolution. Reading What role do the gods play in the course of history? How Pragmatism as philosophy, in the Hegelian tradition, we will has religion influenced the organization of human commu- address many of the questions pursued by Marx, Nietzsche, nities and the conduct of war between them? How have and the postmodernists, and will uncover rich alternative political events shaped peoples’ understanding of the divine? answers. Possible readings include Emerson’s “Self Reliance”; This course will explore such questions through the study James’s “Moral Equivalent of War”; Dewey’s The Public and of texts from ancient Israel and Greece. We will read the Its Problems, “Creative Democracy,” and “The Economic works of poets, prophets, and historians, and consider the Basis of the New Society”; Royce’s The Hope of the Great different ways that they grapple with the human-divine rela- Community; Seigfried’s Pragmatism and Feminism; and West’s tionship. Readings may include selections from the Hebrew writings on “prophetic pragmatism.” Bible, Greek poetical works, and the historical writings of Herodotus, Thucydides, and Josephus. Though occasional Thinking About Seeing secondary sources may be assigned, emphasis throughout will IDSEM-UG 1388 4 UN T 3:30-6:10 Keith Miller be on close and careful reading of primary texts. FULFILLS: HUMANITIES Through an art historical lens, this course explores visual Boundary Crossings communication in a media-saturated society. We will analyze IDSEM-UG 1426 4 UN MW 6:20-7:35 E. Frances White how people “speak” through images and symbols as well FULFILLS: HUMANITIES as words and how we “read” what we see. This class will The words we use to categorize people are proliferating, attempt to understand the tools used to reach an audience. signaling the increasing instability of our cultural categories Images and texts from the past and present will help us assess for describing race, gender, and sexuality. But is this insta- the character of various media and their personal as well as bility and border crossing a new phenomenon or are we political implications. Texts will include works by Barthes, simply more aware of the tenuousness of identity? How are Baudrillard, Benjamin, Lev-Strauss, McLuhan, Sontag and we to understand this explosion of identities and conscious other seminal essays on the media. border crossings? We will explore such questions from a historical perspective, beginning with the eighteenth century

2012 25 interdisciplinary s e m i n a r s and ending in the mid-twentieth century. To further focus Consuming the Caribbean our discussions, we pay particular attention to racial and IDSEM-UG 1482 4 UN R 3:30-6:10 Millery Polyné gender boundary crossing. Where possible, we will look for FULFILLS: HUMANITIES, GLOBAL circumstances where these racial and gender boundaries Same as SCA-UA 721.001. intersect. Throughout the course, we hope to give students a Paradise or plantation? Spring break, honeymoon, or narcot- historical context for understanding the various ways people ics way station? First World host or IMF delinquent? Where cross-cultural boundaries and to alert students to the ways do we locate the Caribbean? From Columbus’ journals race, gender, and sexuality can be intertwined. Writers we to Pirates of the Caribbean, the Caribbean has been buried will most likely read include: Nella Larsen, Marjorie Garber, beneath the sedimentation of imagery by and large cultivated Michel Foucault, Judith Butler, and Ross Chambers. Films we by non-Caribbeans, including colonial governments, settlers, may study include Imitation of Life and Looking for Langston. international tradesmen, tourist agents and their clients. Caribbean peoples have had to re-member the islands that The Iliad and its Legacies in Drama they eventually called home—haunted by a history of slavery

IDSEM-UG 1454 4 UN W 3:30-6:10 Laura Slatkin and still a site of consumption and exploitation. A unifying FULFILLS: HUMANITIES, PREMODERN trope, Caribbean landscapes function as metaphor, emblem, Same as COLIT-UA 104. or even character. This course takes an interdisciplinary and "The poem of force," according to Simone Weil, the Iliad is transnational approach by examining the material relations also a poem of forceful influence. In this course we will read of consumption, which links places, bodies, capital, text, the Iliad intensively, followed by an examination of its heri- plants and landscapes, within the Caribbean, the U.S. and its tage on the dramatic stage. In the first half of the semester former colonial powers. Thus, the study of the Caribbean we will primarily explore the Iliad in terms of the poetics of emphasizes that the region is central to the understanding traditionality; the political economy of epic; the ideologics of of modernity and globalization as a modern construct. Some the Männerbund (the "band of fighting brothers"); the Iliad's of the theorists/writers we will engage are Edouard Glissant, uses of reciprocity; its construction of gender; its intimations Jamaica Kincaid, Maryse Condé, Frantz Fanon, Aimé Césaire of tragedy. In the second half of the course, informed by and Mimi Sheller. a reading of Aristotle's Poetics, we will focus on responses to the Iliad in dramatic form; possible readings will include American Poetics: Sophocles' Ajax; Euripides' Iphigeneia in Aulis; Shakespeare's Inventions and Intimate Dialogues in the Making of a Troilus and Cressida; Racine's Andromaque; Giraudoux's La Hemisphere guerre de Troie n'aura pas lieu; Ellen McLaughlin's Iphigenia and IDSEM-UG 1503 4 UN W 3:30-6:10 Millery Polyné Other Daughters. Students will give presentations on an Iliadic FULFILLS: HUMANITIES, GLOBAL intertext of their own choosing. Same as SCA-UA 816. Formerly titled, "Hemispheric Imaginings: Race, Ideology and Foreign Policy in the Americas." Course is not repeatable. Psychoanalysis and the Visual The idea of an America has been diffracted but reconstituted IDSEM-UG 1468 4 UN M 12:30-3:15 Eve Meltzer by a number of theorists, policymakers, (forced) laborers, FULFILLS: HUMANITIES and artists. Each of these actors sought to craft a new exis- At least since Freud’s “Dream Book,” psychoanalysis has tence that distinguished itself from “Old World” tyranny, taught us that psychic life is thoroughly steeped in images. particularly through the creation of imagined communities This course will pursue the implications of Jacques Lacan’s of identity (i.e. racial, political, religious or sexual). America theory of the subject. By examining a range of psychoanalytic proved to be an extraordinarily malleable idea. Yet, the nar- texts alongside several films and photographs, we will con- rative of “Our America” also revealed its internal contradic- sider Lacan’s proposition that the “I” comes into being though tions and fissures within institutions and social phenomena it the subject’s identification with his or her mirror image. This helped to perpetuate such as slavery, race, and empire. This is ultimately a problem for sociality itself, for we learn to course examines the cultural and political investments that relate to others by way of how we relate to ourselves, our have characterized the American Hemisphere. The matrix primordial other. Course materials include the writings of of race, class and gender has been a useful lens to analyze Borch-Jacobsen, Butler, Descartes, Fanon, Freud, Heidegger, the systems and structures in place that both benefited and Lacan, Laplanche as well as several films, including Capturing suppressed American peoples and their contributions to the the Friedmans, American Psycho, and The Thin Red Line.

26 fall interdisciplinary s e m i n a r s construction of America. Yet, the themes of migration, exile, historically. We shall discuss the history of eugenics and inves- nationalism, sexuality, creolization, and empire-building also tigate how the U.S. government saw eugenics as proffering serve as essential tools to untangling and mapping the roots an objective tool for testing immigration and sterilization poli- and routes of American development. Through a diverse cies. We shall ask if there is a link between eugenics and the set of materials (primary documents, secondary readings, Human Genome Project. How has the patenting of human films, music, and art) that utilize a multimedia and interdis- and plant genes reshaped the conduct of scientific research? ciplinary approach to a range of anthropological, historical, How are molecular biology and pharmaceutical and biotech literary, political and economic questions central to American firms simultaneously challenging and reifying notions of race experience(s), this course will critically engage the writ- in the age of biocapitalism? How much of human behavior is ings of thinkers (José Martí Walter Mignolo, Amy Kaplan, shaped by genes, and how does that affect issues concerning Toni Morrison) who have helped us better understand the free will and culpability? Is it ethical for developing countries spheres where Francophone, Anglophone and Hispanophone to use genetically modified crops rather than their own sus- worlds collide, coalesce and interpenetrate. tainable practices? How has the HIV/AIDS epidemic reshaped the historical notions of the doctor-patient relationship and Guilty Subjects: objectivity of drug testing? This course aims at drawing Guilt in Literature, Law and Psychoanalysis attention to the ethical, legal, and social issues generated by

IDSEM-UG 1504 4 UN MW 11:00-12:15 Sara Murphy biology over the past century. Readings will include works FULFILLS: HUMANITIES from twentieth-century politicians such as Teddy Roosevelt, This seminar will explore guilt as the link between the three eugenicists, including Charles Davenport, the historian of broad disciplinary arenas of our title. Literary works from science Dan Kevles, the philosopher of science Michael Ruse, ancient tragedy to the modern novel thematize guilt in vari- the sociologist and historian of medicine Steven Epstein, the ous ways. Freud places it at the center of his practice and his sociologist of race Troy Duster, and intellectual property law- theory of mind. While law seems reliant mainly upon a formal yers such as Rebecca Eisenberg, as well as recent works by attribution of guilt in order to determine who gets punished molecular biologists and geneticists on the definition of race, and to what degree, we might also suggest it relies upon the role of patenting in biotechnology, and how commercial “guilty subjects” for its operation. With all of these different interests are driving scientific research. deployments of the concept, we might agree it is a central one, yet how to define it remains a substantial question. Is the Feminism, Empire and Postcoloniality prominence of guilt in modern Western culture a vestige of a IDSEM-UG 1523 4 UN TR 11:00-12:15 Marie Cruz Soto now-lost religious world? Is it, as Nietzsche suggests, an effect FULFILLS: HUMANITIES, GLOBAL of “the most profound change man ever experienced when Jamaica Kincaid once said, “I now consider anger as a badge of he finally found himself enclosed within the wall of society honor. [It is] the first step to claiming yourself.” Anger, rather and of peace?” Freud seems to concur when he argues that than Betty Friedan’s “problem that has no name,” has haunted guilt must be understood as a kind of internal self-division the life of many women whose negotiations of the meaning where aggressivity is turned against the self. Is guilt a point- of gender, race and sexuality are marked by the violence of less self-punishment, meant to discipline us? Or does it con- colonial-imperial encounters. Accordingly, this course exam- tinue to have an important relation to the ethical? Readings ines the following questions: How have colonial-imperial may include Freud, Nietzsche, Foucault, Slavoj Zizek, Toni encounters shaped the imagination of gender, race and Morrison, Ursula LeGuin, W.G. Sebald, and some case law, sexuality? How have women built feminist solidarities amidst, among others. or perhaps based on, the shared experience of violence and anger? In turn, how has the imagination of gender, race and Biology and Society sexuality redefined the histories of colonies and empires?

IDSEM-UG 1519 4 UN MW 3:30-4:45 Myles Jackson To pursue these questions, course readings include literary FULFILLS: SCIENCE and other scholarly texts engaging feminist and postcolonial Perhaps the most recent ethical challenge faced by all of theory. Readings range from Kincaid’s The Autobiography of us is biotechnology. This seminar explores the relationship My Mother and Rigoberta Menchú’s I, Rigoberta Menchu: An between the biological sciences and society in the U.S. Indian Woman in Guatemala to other texts by scholars like throughout the twentieth century. We will examine how Uma Narayan, Patricia Mohammed, Vandana Shiva, Gayatri debates concerning "nature versus nurture" have been framed Chakravorty Spivak and Ann Stoler.

2012 27 interdisciplinary s e m i n a r s

Finance for Social Theorists Sociology of Religion:

IDSEM-UG 1527 4 UN M 7:45-10:15 Peter Rajsingh Islam and the Modern World FULFILLS: SOCIAL SCIENCE IDSEM-UG 1552 4 UN TR 2:00-3:15 Ali Mirsepassi Why are some private, profit-making institutions “too big FULFILLS: SOCIAL SCIENCE, GLOBAL to fail,” what are the main contours of the Global Financial This course is designed to explore the role of religion in Crisis (GFC), where do you find the Shadow Banking System? modern societies. We will examine religion as an important The objective of this course is to provide students with con- social institution and also as a cultural system. We will study ceptual, interpretive and analytical tools for understanding canonical and contemporary theories of religion. The focus contemporary themes in finance. The approach will be inter- of the course, however, will be Islam. We will look at the disciplinary and interpretive, drawing upon political theory, cultural context and historical construction of Islam, as well as economics, psychology, basic statistics and accounting. For the different social contexts within which Islam has evolved. example, we will use the GFC to explore core concepts We will examine the relationship between Islam and moder- associated with credit, banking, business ethics, fiscal and nity, including secular ideologies, gender politics, and modern monetary policy and macro economics. We will reference democracy. We will pay particular attention to the role that key ideas from familiar texts and also take up contempo- Islam plays in the everyday life of those who practice it, who rary debates in finance. The aim is to help students become are affected by it, or who struggle with it as their tradition. more literate and numerate as economic and social agents. Our goal is to study Islam not as a fixed object or authentic Readings include Adam Smith, Wealth of Nations (excerpts); tradition but as a social and cultural phenomenon subject John Stuart Mill, Principles of Political Economy (excerpts); to change, contestation, and critique. Texts may include Peter Bernstein, Against the Gods: The Remarkable Story of Mernissi, Islam and Democracy; Arkoun, Re-Thinking Islam; Risk; Mohammed El-Erian, When Markets Collide; and Nassim Fernea, In Search of Islamic Feminism; and Armstrong, Islam. Taleb, Fooled by Randomness: The Hidden Role of Chance in the Markets and in Life. Imagining India: From the Colonial to the Global

On Freud's Couch: IDSEM-UG 1555 4 UN F 11:00-1:45 Ritty Lukose Psychoanalysis, Narrative and Memory FULFILLS: SOCIAL SCIENCE, GLOBAL

IDSEM-UG 1545 4 UN W 12:30-3:15 Nina Cornyetz Drawing on an interdisciplinary set of readings about India, FULFILLS: SOCIAL SCIENCE this course explores a fraught and difficult dynamic within the In this course we will read closely and thoroughly a selec- modern world—democratic nation-building. We move from tion of Sigmund Freud’s papers, including “Three Essays on a variety of pre-colonial and colonial imaginings of South Asia Sexuality,” and “Screen Memories,” and three of his classic to politicized assertions of a unified Indian identity during the case histories: “Fragment of an Analysis of Hysteria,” (Dora), anti-colonial movement. Here, nation is not only a political “From the History of an Infantile Neurosis,” (the Wolfman), entity, but also a cultural project that re-shapes ideas of self, and “An Autobiographic Account of a Case of Paranoia,” (Dr. religion, community, region, family, gender and kinship. The Schreber). In general, we will focus on how the psychoana- post-independence period is explored through writings on lytic method takes narrative seriously—that is, “at its word,” the Partition that created India and Pakistan, “development” or literally—at the same time as it recognizes that whatever is as a key concept that has been central to nation-building, articulated may be in a negative or “canted” (in other words, and struggles around caste, gender, sexuality, tribal identity, “encoded”) relation to what it “means.” We will watch a environment, region and religion. How the state contends selection of films alongside the primary texts. We will explore with majority and minority identities and claims, the com- how time, memory and history signify in psychoanalytic plexities of secularism, notions of equality and difference, all frameworks, and ask what literature, film and poetics might in the context of vibrant social movements and a large NGO share with psychoanalysis. Finally, we will debate the validity (Non-Governmental Organization) sector will enable an in- of what might be called Freud’s “reductionism” in relation to depth exploration of how democracy, as idea and practice, drive theory and the sexual instincts. happens in India. How globalization shapes contemporary understandings of India will be explored towards the end of the course. Readings include: Ronald Inden’s Imagining India, Amitav Ghosh on the Indian Ocean World, Modern South Asia: History, Culture, Political Economy by Sugata Bose and Ayesha

28 fall interdisciplinary s e m i n a r s

Jalal, the writings of Gandhi and Nehru, subaltern studies changed or reshaped over time? In turn, how do patterns of collective writings on nationalism in India, The Nation and its consumption shape class formation, racial inequality, identity, Fragments by Partha Chatterjee, Salman Rushdie’s Midnight’s aesthetic sensibility, and international boundaries? How do Children, Menon and Bhasin’s Borders and Boundaries: Women practices of consumption inform the ways in which people in India’s Partition and India’s New Middle Class: Democratic understand their values and individuality, imagine success and Politics in an Era of Economic Reform by Leela Fernandes. failure, or conceive happiness? By reading widely in sociology, anthropology, and history we will develop a framework for History of Environmental Sciences Before analyzing the ethical, environmental and social justice implica- Darwin tions of consumerism. Readings include case studies from the US, China, India, Europe and Africa Some likely texts are: IDSEM-UG 1566 4 UN TR 9:30-10:45 Peder Anker FULFILLS: SCIENCE Veblen, Theory of the Leisure Class; Mauss, The Gift; Bourdieu, This seminar will provide an overview of the history of Distinction; Marx, “Commodity Fetishism;” Twitchell, Lead the environmental sciences from ancient times to Charles Us Into Temptation; Bill McKibben, Deep Economy; Lizabeth Darwin’s The Origin of Species. We will explore ways in which Cohen, A Consumer's Republic. naturalists and lay people came to know the environment and in what ways nature could mobilize social and moral authority. Who Owns Culture?: With a focus on the history of the European environmental Intellectual Property Law and the Cultural Commons problems from the ancient Greeks, Middle Ages, to colonial IDSEM-UG 1587 4 UN W 3:30-6:10 Gail Drakes and Modern experiences, we will survey different ways of FULFILLS: SOCIAL SCIENCE knowing nature. Where did the idea of nature as "designed" Can a yoga pose or a dance step be considered “private prop- come from? How did natural philosophers (i.e. magicians) erty?” Who owns the genetic sequences found in your DNA? unveil nature’s secrets? What role did scientists play in the What are the rights of an author/artist and how do those colonial experiences? How could Modern scholars imagine rights overlap with the rights of the community to engage “improving” the face of the Earth? These broad questions with works of art? How can the “public domain” and the will guide us in our readings of a series of primary sources, “cultural commons” survive in a free-market economy? In this including great and not-so-great books by Hippocrates, Plato, course, we will deepen our understanding of the cultural and Aristotle, Pseudo-Aristotle, Pliny, St. Francis, Evelyn, Grew, ethical implications of copyright, trademark and patent law Bacon, Rousseau, Voltaire, Linnaeus, Malthus and Darwin, by placing the concepts of ownership and authorship in both as well as largely forgotten texts by anonymous authors and historical and global context. In addition to scholarly essays colonial explorers. drawn from the fields of history, legal studies, anthropology and sociology, this course will also draw on a range of texts Consumerism in Comparative Perspective from the visual arts, music, and literature. Course requirements include: research-based essays and creative projects, IDSEM-UG 1586 4 UN T 3:30-6:10 Kimberly DaCosta FULFILLS: SOCIAL SCIENCE, GLOBAL in-class presentations, and a general willingness to both cri- Same as SOC-UA 970. tique and create. Texts studied may include Boon's In Praise of Consumerism—the linking of happiness, freedom, and eco- Copying, Demer’s Steal this Musicand Patry's Moral Panics and nomic prosperity with the purchase and consumption of the Copyright Wars. Visual and audio sources from Girl Talk, goods—has long been taken for granted as constitutive of the DJ Spooky and Joy Garnett may also be included. “good life” in Western societies. Increasingly, global economic shifts have made it possible for some developing countries Modern Poetry and the Actual World to engage in patterns of consumption similar to those in the IDSEM-UG 1603 4 UN TR 3:30-4:45 Lisa Goldfarb West, such that one quarter of humanity now belongs to the FULFILLS: HUMANITIES “global consumer class.” At the same time, however, nearly Although lyric poetry is the art of language that we reserve three billion people struggle to survive on less than $2 a for the expression of the emotional dimension of our human day. This course takes an international and interdisciplinary experience, lyric poets also importantly use the forms approach to examine consumption in different societies, and and conventions of their art to respond to the shape and we do so by asking several central questions: What are the key substance of the world they inhabit; that is, the historical, determinants of patterns of consumption, and how are they political, and physical aspects of the world—the “actual

2012 29 interdisciplinary s e m i n a r s world”—in which they live. This course has two principal Philosophy of Religion aims: first, to help us to develop skills in the reading of IDSEM-UG 1617 4 UN T 9:30-12:15 Joe Thometz lyric poetry, and, second, to consider the complex relation FULFILLS: HUMANITIES between lyric poetry and the actual world. In the first half Is there such thing as religion--definable and singular? If of the class, we will study the forms and conventions of lyric there is no agreement, how can we have a philosophy of poetry and work on developing our poetic sensibilities. In the it? Departing from this predicament, this course will first second half, we will focus our attention on the relationship examine how “religion” has been construed over time and in of modern poets to the concrete or actual world and focus a variety of contexts. After touching upon various Western our study on W.H. Auden and Wallace Stevens, two poets medieval endeavors to “prove” God’s existence, we’ll attend who address the pressing questions of their day, and the to the nineteenth century and Friedrich Nietzsche’s On the world they shared, in strikingly different ways. Yet, however Genealogy of Morals. We will consider the ways in which different their approaches, both poets ponder questions of Nietzsche employs Hegel’s master/slave dialectic to identify faith and secularity, consider heroism and loss in a century the psychological state of ressentiment as a key factor in marked by war, and probe our human relationship to nature the birth and character of Jewish/Christian morality. Also, in answer to an increasingly industrialized and technologi- William James’s Varieties of Religious Experience (1902) will be cal world. Readings will include texts that consider how to read as a groundbreaking study in the psychological states of read lyric poetry (Hirsch, Vendler, Perloff), a representative religious consciousness. We will also draw Western notions selection of modern lyric poetry (Eliot, Pound, Valéry, Éluard, of the “ineffability”of God—especially as appearing in the Apollinaire, Moore, H.D., Bishop, Hughes, Brooks, Rich), the Pseudo-Dionysian tradition of the via negativa—into con- works of Auden and Stevens (essays and poems), as well as versation with the second century (CE) Buddhist philosophy the philosophical, historical and political narratives to which of Nagarjuna and his influences on the Zen/Ch’an tradition. they refer and that inform their work (Freud, Nietzsche, Finally, we’ll explore recent reimaginings of religion in light of William James, Santayana). postmodern themes such as nihilism and the death of God. Readings include: Anselm of Canterbury, Friedrich Nietzsche, Dante's World William James, Teresa of Avila, Mircea Eliade, Rene Girard,

IDSEM-UG 1609 4 UN W 3:30-6:10 Antonio Rutigliano Gianni Vattimo, Pseudo-Dionysius, Nagarjuna, and Shunyru FULFILLS: HUMANITIES, PREMODERN Suzuki. This course will explore the social, political, intellectual and religious evolution of the late medieval dantesque world, Media and Fashion by focusing on Dante’s Divine Comedy. A close reading IDSEM-UG 1618 4 UN M 6:20-9:00 Moya Luckett of The Divine Comedy will serve as a forum to discuss and FULFILLS: HUMANITIES analyze Dante's writings and those important works that This course will examine the roles fashion plays in film, televi- helped to shape the thirteenth-century Florentine society sion and digital media and their cultural and economic signifi- that ultimately served as a stepping stone for the humanist cance. As a signifying system in its own right, fashion contrib- movement that paved the way for the Italian Renaissance. utes to the semiotics of popular forms. It can also operate as a But Dante’s Divine Comedy is not just a text of and for its own means of authentication (especially in period films and TV) or time. It has left readers fascinated and shuddering for over reveal a variety of ways in which media plays with space and 700 years because its poetical and literary tropes enable them time, purposeful or not. Besides evoking specific temporali- to confront their experience of the human condition and ties and narrative tone, fashion plays an important role in the transform what and how they desire. During the class, there- construction of gender, both in terms of representation and fore, students will conduct research projects on more histori- address. This course will examine the history of the intersec- cal and more enduring aspects of Dante’s Commedia. As well, tion of the fashion and media industries from the free distri- field trips to museums, cinematic recreations, documentaries, bution of film-related dress patterns in movie theaters of the music and other visual and auditory aids will be used to 1910s to the current trend for make-over TV, networks like enrich our sense of the text’s meaning and context. Readings the Style network, the increasing proliferation of fashion blogs include: The Divine Comedy, The Confessions, The Consolation and the construction of specifically feminine video games. of Philosophy, The Aeneid, and The Book of the Zohar. How does fashion’s specific configuration of consumerism,

30 fall interdisciplinary s e m i n a r s signification and visual pleasure lend itself to the articulation on the continent, paying particular attention to the exploita- of modern/postmodern cultures and their presentation of tion of the natural environment during colonialism and pat- the self? Texts will include Stella Bruzzi and Pamela Church terns of extraction and trade set up during that time. Building Gibson, Fashion Cultures: Theories, Explanations and Analysis; on this history, we will then concentrate on the postcolonial selections from Roland Barthes, The Fashion System;Elizabeth period in order to compare different forms of exploitation Wilson, Adorned in Dreams: Fashion and Modernity; assorted across Africa and their connections to key development articles and selected clips from films and television shows debates and national development trajectories. Specific top- including Marie Antoinette, What Not To Wear, The New York ics will include: the extractive industries; the management Hat, Fashions of 1934, Now, Voyager and Sex and the City. of the urban environment; wildlife conservation and tourism; agriculture and rural livelihoods; environmental gover- Law and Legal Thought nance regimes; environmental health and justice; gender and environment; natural resources and war; and vulnerability IDSEM-UG 1643 4 UN TR 9:30-10:45 Vasuki Nesiah FULFILLS: SOCIAL SCIENCE and adaptation to climate change. Aiming to provide more This class introduces students to critical legal studies through complex, critical, and nuanced understandings of human- focused engagement with diverse areas of law. It is anchored environment relations on the continent, we will draw from in reading cases that captured pivotal debates in American academic texts and novels as well as documentaries. Readings legal history, cases such as Brown v. Board of Ed., Roe v. may include: James Ferguson, Paul Richards, James Fairhead, Wade, Lochner v. NY, MacPherson v. Buick Motor Co., Univ. of and Adam Hochschild. CA v. Bakke, King v. Smith, Perry v. Schwarzenegger and Citizens United v. Federal Election Commission. Through discussion From Memory to Myth: of these cases, we examine different understandings of the The Mighty Charlemagne relationship between legal debates and social justice. Can IDSEM-UG 1651 4 UN MW 12:30-1:45 Andrew Romig law be tilted towards the powerful, while also being ‘inde- FULFILLS: HUMANITIES, PREMODERN terminate’? Does it undermine the ‘rule of law’ if, as some Same as HIST-UA 245. scholars argue, legal rules contained ‘gaps, contradictions and In this course students will explore historical memory, ambiguities’? How do unjust outcomes and appear legally mythmaking, and the myriad ways in which human beings necessary? How do different understandings of gender impact construct and reconstruct the past to address present hopes, anti-discrimination law? How does the legal architecture of dreams, and fears. Our case study will be the Frankish property impact labor rights? What are the legitimate roles, Emperor Charlemagne (d. 814), who in life helped to lay the rights and responsibilities of different actors in the system— foundations of modern European society, and in death would from judges to corporations to welfare recipients? In addition continue to represent an imagined pan-European unity that to reading cases and legal scholarship, we will also analyze predated factionalism, regionalism, and nationalism. The films focused on law and society. Readings include Duncan seminar will begin in the ninth century with Charlemagne Kennedy, Cornell West, Karl Klare, Janet Halley, Rich Ford, in memory before moving briskly forward in time to study Martha Minow, Joe Singer, James Clifford, Austin Sarat, Alan Charlemagne in legend and myth. Along the way, we will dis- Freeman and others. cuss themes and problems of particular relevance, including the birth of “Europe,” the advent of “the state,” Christianity Environment and Development in Africa and Crusade, the rise of vernacular literature, and early colonialism. In addition to theoretical works on memory, myth, IDSEM-UG 1648 4 UN W 3:30-6:10 Rosalind Fredericks and history-writing, texts for discussion will include a vibrant FULFILLS: SOCIAL SCIENCE, GLOBAL mix of canonical and lesser-known gems: Einhard’s Life This course explores the political ecology of African develop- of Charlemagne, The Song of Roland, and Ariosto’s Orlando ment in historic perspective. Drawing from anthropology, Furioso; but also the Astronomer’s Life of Louis the Pious, The geography, environmental history, development studies, and Voyage of Charlemagne to Jerusalem and Constantinople, and political science, the course joins theoretical and empirical the anonymous Charlemagne play from the London of perspectives on the politics of African environments. The first Shakespeare and Marlowe. part will focus on the history of human-environment relations

2012 31 interdisciplinary s e m i n a r s

Science and Culture to be “authentic”? What are the criteria by which cultures

IDSEM-UG 1652 4 UN MW 12:30-1:45 Myles Jackson are evaluated as genuine or spurious, and who judges? This FULFILLS: SCIENCE course interrogates the relationship between discourses of This course, which spans from the Scientific Revolution to cultural authenticity and performances of indigenous iden- the present, examines various examples of how the conduct tity as a lens through which to understand the particularly and context of science are framed by culture, and conversely, post-colonial (and post-modern) predicaments of indigenous how science shapes culture. Which models proffered by peoples today. The course will look at how the concept of various historians, philosophers, cultural anthropologists, and indigeneity as a globalized identity-category has emerged sociologists can begin to explain this relationship? The first historically out of conditions of settler colonialism. We exam- portion of this course addresses how scientific knowledge ine common strains in colonial, anthropological, mission- was intricately intertwined with religious and political knowl- ary and tourist encounters with local linguistic and cultural edge during the Scientific Revolution and the Enlightenment. communities in order to better understand how indigenous The next section illustrates how important developments peoples have been represented and constructed as social in thermodynamics (or the physics of work and waste) led “Others”, and how indigenous “culture”—as a set of objecti- to improvements in nineteenth-century musical instrument fied practices—has been discovered, documented, and often design and a change in musical aesthetics. Similarly, we shall prohibited through these encounters. An aim of this course discuss how twentieth-century technological and scientific is to understand the double-bind that indigenous groups developments in fin-de-siècle Europe and the U.S. directly led face: they must publically display signs of “traditional” indig- to new artistic expressions and aesthetics. The final third of enous culture in order to gain recognition, but in performing the course looks at how the content of scientific and techno- “indigeneity” they are then accused of being fakes. Readings logical knowledge associated with “Big Science” from World will include: James Clifford, The Predicament of Culture; Jean War II to the present owes much to the development of & John Comaroff, Ethnicity, Inc.; Kirk Dombrowski, Against national defense in the case of physics and to venture-corpo- Culture: Development, Politics, and Religion in Indian Alaska; rate capitalism in the case of molecular biology. Rather than Circe Sturm, Blood Politics: Race, Culture, and Identity in the simply stay at the level of case studies, we shall continually Cherokee Nation; and Elizabeth Povinelli, The Cunning of test the various models, which attempt to explain the com- Recognition: Indigenous Alterities and the Making of Australian plex and historically contingent relationship between science Multiculturalism. and culture, including Marx’s theory of base-superstructure, Kuhn’s paradigm, Latour’s social constructivism, Shapin and The Social Contract: Schaffer’s historical social constructivism, and Galison’s bri- Early Modern European Political Theory colage model and trading zones. Finally, the course will force IDSEM-UG 1698 4 UN F 12:30-3:15 Justin Holt students to think about related issues, such as the history of FULFILLS: SOCIAL SCIENCE, EARLY MODERN objectivity and the differences and similarities between sci- What holds a society together? This course will explore ence on the one hand, and the social sciences and humanities one influential answer to this foundational question within on the other. Readings include: Shapin and Schaffer, Galison, philosophy and social theory, namely social contract theory Jackson, Latour, Marx, and Kuhn. This interdisciplinary semi- as it developed within early modern European political phi- nar may be used to fulfill the science requirement. losophy. Modern assumptions about the relationship between individual and society, private property and ownership, Indigenous Culture and Cultural rationality, economics and the market, and rights and respon- Authenticity sibilities of citizenship have all been shaped by social contract theory. But, even though this theory has enjoyed great influ- IDSEM-UG 1684 4 UN MW 3:30-4:45 Luke Fleming FULFILLS: SOCIAL SCIENCE, GLOBAL ence, it has been severely criticized as unrealistic and biased Even as indigenous groups have found themselves subju- towards individualism and property holders. We will read the gated by centuries of colonialism, they are increasingly finding foundational social contract works in this course and try to that they must prove their “indigeneity” to legal, national, understand their assumptions, strengths, and weaknesses. or colonial authorities so as to gain territorial, cultural and The works to be read will include: Shakespeare's Richard political rights. Here, national and colonial authorities are III, Hobbes' De Cive, Locke' Two Treatises of Government, concerned to distinguish inauthentic from authentic cultural Rousseau's The Social Contract, and Kant's The Groundwork practice and tradition. But what does it mean for a culture for the Metaphysics of Morals.

32 fall interdisciplinary s e m i n a r s

Feeling, in Theory regions were interdependent rather than separate? How did

IDSEM-UG 1699 4 UN R 3:30-6:10 Eve Meltzer that globalization influence cultural developments? How were FULFILLS: HUMANITIES things, places and persons not previously seen by Europeans Over the past two decades, scholars from a wide range of categorized, and what influence did these encounters have on disciplinary perspectives—literature, women’s studies, politi- ideas about gender, sexuality, class and religious differences? cal science, and aesthetics, to name a few—have returned Was this global economy seen as cooperative or competitive? to the question of “affect,” also referred to as “feeling” or To answer these questions, we will consider how the struggle “emotion,” as well as “passion,” “pathos,” “mood,” or even to understand this global world produced new narratives and “love.” This course aims to familiarize students with the field forms of interdisciplinary thinking. We will discuss a wide of “affect theory” by surveying some of the most important variety of works, such as travel narratives, plays, novels, texts that ground it (such as Chaucer and Aristotle, Freud early forms of ethnography, and visual representations. We and Thompkins) as well as several that have emerged more will also look at the ways that these early modern global recently (Massumi, Terrada, Ngai, among others). When we encounters have been represented in recent films. Likely consider the stakes and claims of some of the more recent authors include Christopher Columbus, Sir Walter Raleigh, work on affect, it becomes clear that a central predicament William Shakespeare, Michel de Montaigne, Aphra Behn, is at hand: how are we to understand affective life now, after Richard Ligon, Bartolome de las Casas, Philip Massinger and so many “deaths”—that of the subject, the author, art, and Theodore De Bry. so on—have been announced by theories of postmodernism? How do we reconcile the resurgence of theories of The End of the World affect when the end of the feeling subject is also touted by IDSEM-UG 1701 4 UN MW 11:00-12:15 Matthew Stanley these same theories? This question leads us to our second The idea of the world coming to an end is a characteristic challenge: to tackle the relationship between feeling and and fundamental part of the western tradition. The course theory. While art and music have long been associated with will examine the emergence of the idea of end-time thinking, emotionalism and affective life, what about the feelings that often called apocalypticism, and consider its persistence and theory gives us? Alternatively, what is the affective life of influence through religious, psychological, sociological, and theory? How does it harness, repress, produce, or otherwise literary lenses. We will examine Jewish and early Christian make use of affect? While this course has no prerequisites, apocalypticism, its revival in the middle ages and nineteenth it is particularly appropriate for students who have strong century America, the rereading of Biblical narratives as atom- feelings—love or hate—for so-called “theory.” ic destruction during the Cold War, and the development of science-based apocalypses. The course will close with deep Becoming Global? investigation of the Mayan calendar and the modern escha- Europe and the World: A Literary Exploration tological movements inspired by it. Readings may include: IDSEM-UG 1700 4 UN TR 11:00-12:15 Valerie Forman Book of Daniel; Book of Revelation; Wessinger, Millenialism, FULFILLS: HUMANITIES, EARLY MODERN Persecution, and Violence; Kyle, The Last Days are Here Again; Same as COLIT-UA 800.001. Paul Davies, The Last Three Minutes; Mary Shelley, The Last Over and over, we are told that the world we live in is Man; Arthur C. Clarke, Childhood's End; Paul Boyer, When becoming increasingly global. All its parts are connected to Time Shall Be No More; Mayan calendrical documents relating one another, and goods, people, culture, and information can to 2012; Cormac McCarthy, The Road; John Hall, Apocalypse; move from one place to another, seemingly without barriers. Film: On the Beach; Carl Sagan, The Cold and the Dark; Al Yet how new is this phenomenon? Scholars have pointed to Gore, An Inconvenient Truth. the middle of the sixteenth century as the moment when the economy became global, and the age of exploration and Spectacle and Mass Media colonization began to connect many parts of the world to IDSEM-UG 1702 4 UN F 11:00-1:45 Moya Luckett each other in a complex network that included cooperation, piracy, and slavery. This course will explore the emergence It is not surprising that concepts of spectacle have been of a global consciousness through the study of literary and of great importance for studies of visual media. From the cultural developments. Our primary questions include: to earliest modernist theories that linked spectacle to medium what extent did early modern Europeans begin to imagine specificity, historians, theoreticians and critics have attempted and experience the world globally, that is, as an entity whose to understand the centrality of spectacle to mass media. This

2012 33 interdisciplinary s e m i n a r s class looks at some of the pivotal ways in which spectacle has Later texts will include: Shakespeare’s The Tempest, Dave been understood, exploring the differences between modern Eggers’ What Is the What, Langston Hughes’ poetry, Saidiya and post-modern critics and the distinctions and overlaps Hartman’s Lose Your Mother, Barack Obama’s Dreams From between historical and theoretical investigations. Starting with My Father, Toni Morrison’s Beloved and Sharifa Rhodes- Tom Gunning’s idea of attractions, a concept that revolution- Pitts’ Harlem is Nowhere. ized understanding of early cinema and its seemingly cavalier approach to narrative, we will explore how the concept of Antigone(s): spectacle links history/theory and representation/reception. Ancient Greece/Performance Now

We will look at modernist debates around the image and IDSEM-UG 1705 4 UN T 3:30-6:10 K. Horton / L. Slatkin consider their consequences for theories of perception, FULFILLS: HUMANITIES, PREMODERN exploring the impact of consumerism in reshaping the image. A production of Antigone is taking place somewhere in the We will also consider the relationship of spectacle and nar- world every day—right now, as you are reading this. What rative, looking at how theorists like Laura Mulvey tied this was Antigone? What is Antigone? What might Antigone yet be? regimen into the presentation of sexual difference. Mulvey is Our course—a collaboration between a stage director and one of many critics to link spectacle to femininity, a topic we a classicist—begins with an immersion in Sophocles' prize- will explore as we consider the relationship of spectacle to winning play (441 BCE), with close attention to the history, sexuality. Finally, we will consider the postmodern consum- politics, aesthetics, performance conditions, and production erist spectacle and the creation of a “virtual gaze,” explored features of ancient Athenian drama more generally. The sec- by Anne Friedberg. Readings will include Tom Gunning, “An ond half of our course turns to contemporary renditions of Aesthetic of Astonishment: Early Film and the (In)Credulous Antigone and will consider the dramatic and cultural configu- Spectator,” Anne Friedburg, Window Shopping: Cinema and rations each new production activates. Antigone's exploration the Postmodern, Laura Mulvey, “Visual Pleasure and Narrative of the complexities of gender, kinship, citizenship, law, resis- Cinema,” Jonathan Crary, Suspensions of Perception: Attention, tance to authority, family vs. the state, and religion (among Spectacle and Modern Culture. other issues) has been compelling for modern thought, and especially galvanizing to theaters of resistance and dissent. The Weary Blues: Our classes will combine critical inquiry into the plays and Rites of Passage and Writing about Passages surrounding discourse as well as experiments in interpre- IDSEM-UG 1704 4 UN F 11:00-1:45 Matthew Vernon tation—including acting workshops and staging exercises. FULFILLS: HUMANITIES, PREMODERN Students need no background in acting, theater, or ancient This course will consider the intimate relationship between literature, but do need critical energy and discipline. Among writing, identity and movement. We will survey texts in the the modern plays we might address, in the second half of the English literary tradition that use the language of motion – semester, are reimaginings of Antigone by Brecht, Fugard, travel, migration and wandering– to articulate the problems McLaughlin, and Miyagawa. To help us place antiquity and of identity formation, ranging from mythmaking on a large modernity in a productive conversation, we will also read scale in Anglo-Saxon poetry to the self-fashioning of individu- secondary literature from several fields (classics, political als, such as the poetic aspirations of Langston Hughes. The theory, anthropology, theory of sexuality/gender). texts we will consider will include rewritings of the Exodus, the European arrival in the New World and the Middle The Origins of Language and Its Place in Passage as well as literary texts that enable literal movement. Western Thought The swirl of ideas and genres we will question center on the IDSEM-UG 1706 4 UN F 11:00-1:45 Luke Fleming idea of passages, or the possibility of transformation through FULFILLS: HUMANITIES travel and writing. The course will help students think about How did language emerge? Language is arguably the most the political and effective implications of the written word important of social institutions and yet its origins and what to bridge cultural gaps, mobilize peoples and excavate one’s it reveals about human nature have posed a persistent and sense of heritage. The reading for this course will be cross- unresolved riddle to philosophers and evolutionary biologists temporal and focus on medieval and African-American texts. alike. This course looks at the long history of thought about Medieval texts will include the Old English Exodus, Egil’s the origins of language in the Western tradition, from enlight- Saga, Chaucer’s “Man of Law’s Tale” and “The Clerk’s enment thinkers like Rousseau and Diderot through modern Tale,” Geoffrey of Monmouth’s History of the Kings of Britain. linguists like Chomsky and Pinker, as a way to explore how

34 fall interdisciplinary s e m i n a r s ideas of the human and of society are theorized. As we will Asia, and North America, to ask: What makes something see, each theory of language origins invariably involves a “Surrealist” and how does this change across geographic theory of human nature, of the relationship between emo- locations? How does Surrealism interact with place and how tions and rationality, and of the individual to society. How do is it affected by displacement? In addition to contextual- various theories of language presuppose theories of society izing Surrealism globally, this course critically reexamines and human nature? How do thinkers about language origins the movement through the lens of ethnography, gender, account for linguistic diversity and what implications does it and psychoanalysis by pairing primary readings such as have for their understandings of human nature and differ- Breton’s Nadja and Claude Cahun’s Disavowals with critical ence? The course will engage with a lineage of texts from texts, including Michel Foucault, This is Not a Pipe, Rosalind philosophy, anthropology, linguistics, and evolutionary biology Krauss, “Photography in the Service of Surrealism,” and in order to explore these questions. Texts include Locke, An James Clifford, “On Ethnographic Surrealism.” We will look at Essay Concerning Human Understanding; de Saussure, Course artwork on view at the Museum of Modern Art and analyze in General Linguistics; and von Herder, Treatise on the Origin manifestos from Martinique, Cuba, Egypt and Spain alongside of Language. poetry, painting, and film to map out the international networks created by Surrealism. Visions of the Good Life in Ancient Greece

IDSEM-UG 1708 4 UN MW 9:30-10:45 James Bourke Sex and the State FULFILLS: PREMODERN IDSEM-UG 1710 4 UN M 3:30-6:10 Lauren Kaminsky How should one live? What is the best life? The thinkers of FULFILLS: SOCIAL SCIENCE Ancient Greece contemplated these questions in different Why are gay marriage and family planning at the heart of the ways, and their responses have powerfully influenced sub- cultural divide that polarizes contemporary American poli- sequent political and social philosophies. In this course, we tics? What is at stake in debates about family values and the will examine four ways in which the Greeks thought about right to choose, and what subject positions do these debates and articulated the idea of the good life—the heroic, which produce and refuse? This course will take a comparative look understands the good life as striving for distinction and lasting at the ways citizens inhabit categories of sex, gender, and fame through great deeds; the tragic, which sees the pursuit sexuality, with attention to the fact that some identities are of happiness as fraught with conflict, ambiguity, and finitude; made more legible than others. We will call into question the the philosophical, which prizes contemplation and the quest separation of the so-called public and private spheres, asking for truth; and the political, which emphasizes the contribu- what is gained and what is lost by imagining a ‘private’ sphere tion of collective life to individual happiness. Texts will include as somehow outside of politics and the market. If we under- Homer’s Iliad, selected plays by Aeschylus, Sophocles, and stand registered marriage as one mode of addressing the Euripides, Plato’s Republic, and Aristotle’s Politics. We will state, how does it both generate and violate fantasies of pri- explore the visions of the good life these texts present, their vacy? What is the relationship between private property and possible points of overlap, the internal tensions that com- the sanctity of the home? What bodily practices are at stake plicate them, and their continuing relevance and impact on in asserting a relationship between sex, dignity and humanity? modern ethical and political ideals. Readings may include works by Janet Halley, Hendrik Hartog, Saba Mahmood, Timothy Mitchell, Mimi Thi Nguyen and Global Surrealism James Scott.

IDSEM-UG 1709 4 UN W 6:20-9:00 Lori Cole FULFILLS: HUMANITIES, GLOBAL Politics, Writing and the Nobel Prize in Latin While Surrealism had its origins in France, it was decidedly America an international phenomenon, as evidenced by Surrealist art IDSEM-UG 1711 4 UN MW 3:30-4:45 Linn Mehta and writing emerging from places as disparate as Mexico FULFILLS: HUMANITIES, GLOBAL and Japan. Influenced by both Freud and Marx, Surrealists In the course of the twentieth century, seven Latin American sought to liberate and represent the subconscious through authors have won the Nobel Prize: Gabriela Mistral (1945); techniques such as automatic writing and dream-like imag- Miguel Angel Asturias (1967); Pablo Neruda (1971); Gabriel ery. The class begins by exploring the origins of Surrealism García Márquez (1982); Octavio Paz (1990); Rigoberto and its manifestations in Europe before looking at Surrealist Menchú (Peace Prize, 1992); Mario Vargas Llosa (2010). tendencies in the Caribbean, Latin America, the Middle East, Together, they give us a chance to consider some of the major

2012 35 interdisciplinary s e m i n a r s literary and political movements in Latin America leading up What is Critique? to the present. The poetry of Mistral and Neruda reveals the IDSEM-UG 1714 4 UN W 3:30-6:10 A.B. Huber successive influences of surrealism, communism, socialism, FULFILLS: HUMANITIES up to the eve of the Pinochet coup in Chile; through novels Same as COLIT-UA 800.002. and autobiography, Asturias and Menchú explore very differ- The social theorist and philosopher Michel Foucault argued ent aspects of the indigenous struggle in Guatamala; the nov- that critique is a powerful form of insubordination and a els of García Márquez in Colombia and Vargas Llosa in Peru crucial “instrument for those who fight, resist, and who no embody different sides of magical realism; and Paz, in Mexico, longer want what is.” Might critical philosophy help us com- in his poetry and essays, represents a country that has been a bat forms of injustice that appear resilient even to collective literary cornerstone of Latin America. disobedience and direct action, and if so how? In this seminar we will consider the history and politics of critique: what is From Blackface to Black Power: the nature of the persistent resistance to what is broadly Twentieth-Century African American Literature called theory, and can theory, or perhaps some form of IDSEM-UG 1713 4 UN TR 2:00-3:15 Laurie Woodard theorizing, be a meaningful mode of political resistance? If, for FULFILLS: HUMANITIES instance, we come to understand power as making the world The modern African American literary tradition explores and not simply dominating it, might this shift engender alter- identity within the context of the quest by African Americans native and productive forms of political contestation and new for the full rights of United States citizenship during the social imaginaries? The seminar begins with a consideration of twentieth century. Throughout this complex period, African the uneasy place of critique in the western philosophical tra- Americans made considerable gains in their pursuit of equal dition, reading Plato, Kant, Marx, Foucault, and Butler among rights. Simultaneously, black identity underwent dramatic others in order to establish a sense of how critique emerges and subtle changes as the majority of African Americans as a technique, art, or ethos that interrogates the shifting, transformed themselves from slaves to free men and women historically specific relationships between power, truth and to New Negroes to Proud and Beautiful Black Americans. the subject. Together we will ask after the conditions of what Focusing upon the intersection between the cultural and can and cannot be thought or said, and how these conditions political realms, this interdisciplinary seminary explores this tend to shape our formation as gendered, racialized, and literary tradition within a wider cultural field. It explores liberal subjects. Possible authors include: Spivak, Mahmood, the roots and routes of the African cultural Diaspora as the Chuh, Brown. foundation of urban, northern, politically-conscious cultural production. Using a variety of literary and other texts including critical analysis, fiction, non-fiction, poetry, film, music, and visual arts we will examine touchstone moments such as the New Negro or Harlem Renaissance and the Black Arts Movement. We will attempt to bridge the gap as we delve into representative works including the poetry and plays of Langston Hughes, the blues of Billie Holiday, and the collage of Romare Bearden as well lesser-known works such as Georgia Douglass Johnson’s “Blue Blood” and the fiction of Cecil Brown.

36 fall t w o -c r e d i t , s e v e n -w e e k interdisciplinary s e m i n a r

The Travel Habit: created a national travel bureau to assist the hospitality On the Road in the Thirties industry, poured millions of dollars into roads and highways,

IDSEM-UG 1558 2 UN TR 2:00-3:15 Steve Hutkins and put authors like Eudora Welty, Saul Bellow, and Ralph FULFILLS: HUMANITIES Ellison to work writing WPA travel guides. The travel theme Course meets September 4–October 18. attracted novelists like Nathaniel West and Nelson Algren, The Great Depression turned millions of people into travel- who used the journey motif in their fictions, and writer-and- ers. Many of the unemployed took to the road in search of photographer teams like James Agee and Walker Evans trav- work, preferring to give up their homes rather than their eled to document the suffering of sharecroppers and migrant cars; others hitchhiked and rode the rails. Ironically, it was workers. This course will survey the travel writing of the also a time for leisure travel too, and this was the era when 1930s and provide an introduction to the social history of taking a family trip on a paid vacation became a national travel and tourism during the period. Readings may include ritual. Government and industry promoted tourism to help Steinbeck’s The Grapes of Wrath, West’s A Cool Million, the economy—and to pacify the working class. But getting Kromer's Waiting for Nothing, Caldwell and Margaret Bourke- people to travel required a deliberate, large-scale effort. As White’s You Have Seen Their Faces, and Agee and Evans’ Let Us one tourism promoter put it, “The travel habit was not born Now Praise Famous Men, as well as the WPA travel guides and with Americans. It’s an acquired taste that must be religiously histories of the Depression and the tourist industry. and patiently cultivated.” So the Roosevelt administration

p r a c t i c u m

Practicum in Fashion Business students interested in the fashion industry with an opportu-

PRACT-UG 1301 4 UN T.B.A. nity to develop their understanding of various approaches to Permission of the instructor required. Scheduling details and bridging the gap between design and business. The course instructor information to be announced. will combine hands-on group projects and case studies with The fashion industry’s need to balance the conflicting interdisciplinary readings in business and design history, con- demands of specialization and globalization requires innova- sumerism, merchandizing and the business of fashion. The tive approaches that connect creativity, design and business. course will be taught by the Guess Distinguished Visiting This course considers the dialogue surrounding ways the Professor in Fashion and Fashion Business, and by Patricia fashion business can meet these demands by linking aesthetic Lennox, a member of the Gallatin faculty. Admission is by goals to financial plans. The course is designed to provide permission of the Visiting Professor.

2012 37 a d v a n c e d writing c o u r s e s

The Basics and the Bold: Writing about Popular Music

Fundamentals of Editing Fiction and Creative Nonfiction WRTNG-UG 1039 4 UN W 6:20-9:00 Amanda Petrusich WRTNG-UG 1019 4 UN W 6:20-9:00 Barbara Jones Effective music criticism—criticism that places a song or Book editors and agents find that a great variety of submis- album within the appropriate social, political, personal, and sions (including novels, short story collections, memoir and aesthetic contexts—can be as enthralling and moving as the narrative nonfiction) require precisely the same kinds of edi- music it engages. In this course, we will explore different torial attention. Learning to identify and attend to these ubiq- ways of writing about music, from the record review to the uitous weaknesses in concept, narrative and prose can lift a personal essay. We’ll consider the evolving tradition of pop manuscript from the “no” pile to enthusiastic acceptance and, music criticism (How are MP3 blogs and Web sites challeng- later, from lackluster publication to strong word of mouth and ing print media? How is the critic’s role changing?) and the review attention. This class will focus on two kinds of editing mysterious practice of translating sound into ideas (How do that can address those frequent, genre-crossing manuscript we train ourselves to be better and more thoughtful listen- problems: the bold—identifying and troubleshooting the ers?). Through reading, writing, and class discussion, we’ll bigger conceptual and structural problems, including the contemplate the mysterious circuitry that causes people to young writer’s frequent habit of not being bold at all; and embrace (or require) music—from Bob Dylan to Lil’ Wayne the basics—sweating the small stuff by learning and using the —and how best to explore that connection on the page. tricks of an editor’s trade. Readings will include works by Readings will include Lester Bangs, Rob Sheffield, Carl Wilson, writers such as Jennifer Egan, Jeffrey Eugenides, Mary Karr, Sasha Frere-Jones, Robert Christgau, Ann Powers, Simon Laura Hillenbrand and others (models of successful basics and Reynolds, Chuck Klosterman, Ellen Willis, and others. boldness), and student writings. Students will be expected to: 1) bring in one story, chapter of a novel, piece of memoir or Writing about Film narrative nonfiction that they have written, 2) edit (including a WRTNG-UG 1070 4 UN F 12:30-3:15 Christopher Bram line edit and an editorial letter) and 3) revise their own piece of writing in response to editorial feedback from the class. Writing about movies is more than just issuing thumbs-up, thumbs-down judgments. In this class you will learn how to discuss a film’s content, style, and meaning in ways that can Writing about Performance interest even people who disagree with you. You will explore WRTNG-UG 1034 4 UN MW 12:30-1:45 Julie Malnig some of the many different ways there are to write about This writing seminar will train students to become critical cinema, expanding your command of words by reading such viewers of performance and translate their "looking" into critics as James Agee, Pauline Kael, James Baldwin, Molly descriptive and analytical prose. Students will be introduced Haskell, and others. Students will write (and rewrite) five to a variety of critical strategies and approaches---from for- papers ranging from brief movie reviews to a final eight-to- malist to ethnographic to various forms of sociological and ten page essay. cultural criticism---to develop their interpretive skills. These analyses will help students discover how various performance Writing the Other mediums are constituted, how they "work," and how they WRTNG-UG 1215 4 UN W 6:20-9:00 Aaron Hamburger create meaning for viewers. Assignments will include interviews, artists’ profiles, performance documentations, cultural Writing professors often advise students, “Write what you reviews, and critical and/or theoretical analyses. Occasional know.” But how about writing from what you know into group excursions to performances will be arranged, as well what you don’t know, specifically by tackling the perspective as class speakers. Some of the authors, essayists, and artists of someone who is different from you? In this course, we’ll whose works we may read include: Susan Sontag; Michael explore a range of identities: gender, race, sexual orientation, Kirby; Edwin Denby; Deborah Jowitt; Joan Acocella; Joyce class, age, disability, body type, and many more. How can we Carol Oates; Anna Deavere Smith; Spalding Gray; and Henry learn to recognize our own blind spots that prevent us from Louis Gates, Jr. fully seeing the people and the world around us? And how can we confront and overcome our fears of causing offense in our attempts to get inside someone whose life experience we don’t share? During the course, we’ll examine how categories of “Same” and “Other” can shift wildly not only from person to person, but within each person. We’ll also look at how

38 fall a d v a n c e d writing c o u r s e s the process of choosing or rejecting various identity labels course, we will read and write personal essays, and, in the intersects with issues of characterization. Finally, we'll con- process, explore how writers create “persona,” “tone,” and sider the possible dangers of writing about the Other, such “voice.” We will also consider concepts such as “the self,” as distortion, erasure, or stereotype. Students will produce “personal identity,” and “sincerity.” Readings may include several short pieces of creative fiction and two complete essays by Seneca, Michel de Montaigne, George Orwell, short stories (10-15 pages each) to be workshopped and then Virginia Woolf, Jorge Louis Borges, Natalia Ginsburg, James revised, each focusing on capturing a character who does not Baldwin, Joan Didion, Alice Walker, Maxine Hong Kingston, share at least one identity marker with the author. For inspi- Adrienne Rich, and Hanif Kureishi. ration, we’ll also read examples of work by writers like Ha Jin, Manuel Munoz, Edwidge Danticat, Victor LaValle, Lorrie Writing the Fragment Moore, Jhumpa Lahiri, and Bernard Malamud. WRTNG-UG 1329 4 UN TR 4:55-6:10 Victoria Blythe This writing seminar will explore the fragment as a literary Creative Nonfiction genre and as a modality for literary production. Our engage- WRTNG-UG 1300 4 UN R 3:30-6:10 Cris Beam ment with the fragment will focus on interruption as a force Creative nonfiction marks the intersection between journal- for generating writing, a dynamic that leaves in its wake ism and literature, and bears the hallmarks of both. Stories fea- literary debris to be collected and recouped. Revisiting our ture strong character development, well-developed, nuanced own literary scenes of destruction we will develop a writing scenes, and a tangible narrative arc. But they also privilege technique based on bricolage. Using the writing workshop thorough research, live reporting and a writer’s quizzical, as a literary archeological dig we will learn to recognize intelligent stance. In this course, students will not only learn our usable fragments, to reconfigure and recontextualize the components of a good story, but what makes an idea them into revitalized works. (Students will bring fragments compelling to a diverse audience to begin with. Students will from their own work to the project.) We will look at some choose their own topics, but we’ll all write and revise one famous literary fragments such as the classic “Anaximander profile and one long investigative-style piece of researched Fragment” and the remains of Sappho’s odes on love. and reported literary nonfiction. We will workshop these lon- Shelley’s “Ozymandias,” Eliot’s “Wasteland,” Rilke’s “Archaic ger stories in sections, and students will learn effective editing Torso of Apollo,” and selections from Benjamin’s monumental strategies for their own writing by working closely with their bricolage-work will figure in our itinerary among the ruins. peers. We’ll read masters of the genre like Joseph Mitchell, Theoretical writings may include Said's “Beginnings” and Katherine Boo, and Alex Kotlowitz as well as some newer Blanchot's “Writing the Disaster.” Students will revisit and or more experimental voices like Pumla Gobodo–Madikizela redeploy their own literary fragments and will also work and Lauren Slater. We’ll also look at broader ethical questions within the genre of the “intentional fragment.” like going undercover, cloaking source identities, and writing outside of one’s own experience. Oral Narratives: Stories and Their Variations

The Art of the Personal Essay WRTNG-UG 1341 4 UN M 9:30-12:15 Suzanne Snider WRTNG-UG 1305 4 UN M 3:30-6:10 Sharon Friedman In this workshop, we’ll embrace oral history as both method- The personal essay is a flexible genre that often incorporates ology and genre, seizing upon narrative discrepancies as oral rumination, memoir, narrative, portrait, anecdote, diatribe, history opportunities. Considering texts such as Voices from scholarship, fantasy and moral philosophy. The title of Chernobyl and Legs McNeil's Please Kill Me, we’ll explore how Montaigne’s Essais (“attempts"), published in 1580, suggests oral history can help us approach complex subjects and his- the tentative and exploratory nature of this form as well as its toric events, particularly those stories containing conflicting freedom. The hallmark of the personal essay is its intimacy— accounts. As part of this discussion, we’ll examine the elastic the sharing of the writer’s observations and reflections with nature of memory, and the distinctions between individual a reader, establishing a dialogue on subjects that range from memory and collective memory. We will challenge ourselves the mundane to autobiographical and political meditations to reflect divergent viewpoints in our nonfiction writing, bor- to reflections on abstract concepts and moral dilemmas. rowing the lessons of conventional, as well as more overtly Style, shape, and intellectual depth lend the personal essay experimental nonfiction to accomplish this. How do we its drama, charm, and its ability to provoke thought. In this chronicle stories that do not conform to narrative conven-

2012 39 a d v a n c e d writing c o u r s e s tion? How can we retain conflicting accounts within our Crafting Short Fiction from the Sentence Up chronicle, rather than synthesizing them into one account? WRTNG-UG 1537 4 UN T 7:45-10:15 Steven Rinehart Students will read newspapers and magazines, looking for This class explores the craft of writing, starting with the sen- missing stories and missing voices. These omissions will serve tence and ending with the scene. Half of each class is devoted as the inspiration for interviews and writing projects. The to craft exercises and the remaining half to a traditional work- work of writers and documentarians such as Mary Ellen Mark, shop approach to discussing student submissions. By the end Luc Sante, Anna Deveare Smith, and Moises Kaufman will be of the semester we’ll be able to talk intelligently about some included in our coursework. of the “micro” parts of a short story or novel, giving the students some practical tools for editing those parts. Writing for Late Night Television: Monologue, Jokes, Bits, and Sketches Reading and Writing the Short Story WRTNG-UG 1508 4 UN M 3:30-6:10 D.B. Gilles WRTNG-UG 1540 4 UN M 6:20-9:00 Carol Zoref This course introduces students to writing for the world of This short story workshop is designed for the writer who late night television. Every talk show host has a unique voice believes that there is as much to be learned from reading the and style. Work will include learning how to write opening works of others as from writing their own stories. We will monologues for The Daily Show, The Colbert Report, Chelsea devote a portion of each class to discussions of master stories, Lately, Conan and Jimmy Kimmel among others. Other subjects as well as to careful readings and discussions of stories by the we will cover include understanding the difference between a members of the workshop. Exercises will be assigned each sketch and a bit, how to structure a joke, and and how to find week as a way of developing and reinforcing each writer’s material. Work will also involve writing sketches such as those relationship to literary craft. Each writer will also present her on Saturday Night Live. Students will learn how to go from or his own stories in class. Workshop members are required idea, to building the sketch, to completing it and rewriting it to participate actively in classroom critiques. to make it funnier. Writing assignments may include creating original on-going sketch characters, a Letterman Top Ten List, fake news items ala Weekend Update and writing short film Fiction Writing parodies. WRTNG-UG 1550 4 UN T 6:20-9:00 Lara Vapnyar Students may take "Fiction Writing" two times. Sidelines: This course provides students interested in writing fiction an The World of the Cross-Genre Writer opportunity to explore (and practice) various forms of fiction

WRTNG-UG 1534 4 UN R 6:20-9:00 Lizzie Skurnick in a workshop environment. The main objective of the course is to help students develop their individual styles and voices There’s the work writers actually do over their careers, and and to make them aware of the various techniques available then the work for which they’re remembered. What’s the to them. We will examine every aspect of the craft of tradi- difference between a cookbook author and a Pulitzer-Prize tional fiction writing: plot, structure, point of view, narrative nominated novelist? A video-game reviewer and a literary voice, dialogue, building of individual scenes, etc as well as icon? An anthropologist and a cultural satirist? Less than the new techniques of the digital age: hypertext, self-editing you’d think, if you examine the work of writers whose bril- text, visual and audio images, animation. We will learn how to liance spans these genres and more over the course of their balance the traditional with the new without overwhelming careers. In Sidelines, we’ll look at Patricia Highsmith’s first the written text with gadgets. Students will be taught to look novel, The Price of Salt, a lesbian coming-of-age work; Martin at texts from the unique perspective of a fellow writer and Amis’s video game reviews; Ernest J. Gaines’ children’s novel, encouraged to become part of a community of writers where A Long Day in November; Nora Ephron’s searing GQ cultural they will work with their peers in a safe, honest and consid- criticism; Shirley Jackson’s comedic essays on parenting, and erate environment. Students will present their own fiction, other forgotten works in order to gain valuable understanding respond to the writings of others, and pose questions about about the writing life and the use of mastering many media. literature, editing, and publishing. Students will be required to Students will also take a crack at writing in the standard and write either two short stories, or a short story and a chapter nonstandard forms of the writers of our age, such as blog- from a novel, or a short story and several pieces of flash fic- ging, Tumblring, and tweeting, and then write their own tion. The reading assignments will include selections from old cross-genre works, anything from straightforward fiction to narrative recipes for nutmeg cake.

40 fall a d v a n c e d writing c o u r s e s and contemporary authors such as Chekhov, Joyce, Borges, Nabokov, Alice Munro, George Saunders, Edward P. Jones, writing-related course Junot Diaz, Jennifer Egan. Literacy in Action Advanced Fiction Writing CLI-UG 1460 4 UN M 6:20-9:00 Dianne Ramdeholl

WRTNG-UG 1555 4 UN R 6:20-9:00 Chris Spain This course combines volunteer work in New York City adult Prerequisite WRTNG-UG 1550 or CRWRI-UA 815 or CRWRI-UA literacy and English as a second language programs with an 816 or CWRI-UA 820 or permission of the instructor. Students academic introduction to the philosophy, history, and current may take "Advanced Fiction Writing" two times. issues of adult literacy. Students will work as volunteer teach- The aim of this course is to fathom why fiction works when ers of reading and writing oral English or mentors at such it works, and why it doesn't when it doesn't. We will attempt institutions as the University Settlement, International Rescue to teach ourselves to read like writers, so we can learn from Committee, Turning Point, and Fortune Society. In class they those who have come before, so we can began to write like will read about and discuss such key issues as which “basic writers. We will engage all the elements that give a fiction skills” U.S. adults now need; which adults lack these skills and a chance at success--obsession, seduction, evoking of the why; the implications for our economy, families, communi- senses, the removal of filters, scene and summary, theatre of ties, and democracy; the instructional approaches developed the mind, et cetera. Students will turn in three first drafts of for adults; and the steps that might be taken to build support fiction, each 10-14 pages long, to be critiqued in a workshop for high-quality, adult basic-skills programs. Throughout the setting. The critiques will be rigorous but constructive; no course, students will relate such issues to their own on-site nastiness allowed. We will also complete short, extempora- experiences in class discussion and role-playing, and create neous, writing exercises. Readings taken from The New Yorker, a portfolio of writing that includes on-site observations, les- Zoetrope, and others. son plans, reflections, and a final analytical paper. Readings may include Making Meaning, Making Change (Auerbach); We The Art and Craft of Poetry Make the Road by Walking (Horton and Freire); Pedagogy of

WRTNG-UG 1560/01 4 UN M 6:20-9:00 Emily Fragos the Oppressed (Freire), as well as other articles and journals WRTNG-UG 1560/02 4 UN TR 3:30-4:45 Stacy Pies ( Focus on Basics and The Change Agent). Students may take "The Art and Craft of Poetry" two times. In this workshop poets will focus on the foundations and intri- cate dynamics of poetry as a writer’s process. A weekly reading of a poem by each poet in the circle will serve as point of departure for discussion of the relationships of craft and expression. Each student will also briefly present a favorite poet/poem for the enjoyment and learning of the class. A final portfolio of poems is required at the end of the course.

Advanced Poetry Writing

WRTNG-UG 1564 4 UN M 3:30-6:10 Scott Hightower Prerequisite WRTNG-UG 1560 or CRWRI-UA 817 or CRWRI-UA 830, or permission of the instructor. Students may take "Advanced Poetry Writing" two times. A workshop designed for serious poets, this class will teach students how to take their writing to another level both intellectually and artistically; depth of theme, imagination, and craft will be discussed. Emphasis will be placed on developing and strengthening one’s personal style and voice. Through work-shopping, students will further refine their critical eye as poet and reader. The class will include exercises and readings. Submission of work will be discussed and encouraged.

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Unbroken; Greg Halpern’s Harvard Works Because We Do, ARTS WORKSHOPs repeatable one TIME listening to audio and reading Slave Narratives from Remember Slavery project, Smithsonian; Anna Deveare Smith, and Dave Something to Sing About: Isay. For final projects students create collaborative or solo Acting in Musical Theatre work in the discipline of their own training; theatre, artist ARTS-UG 1014 4 UN M 12:30-3:15 Ben Steinfeld books, photography, poetry, music, radio, audio art, film or The “American Musical” as it has evolved over the last cen- video. tury has become a remarkable model of interdisciplinary practice. From its early iterations and influences in burlesque, Site-Specific Performance: vaudeville, and operetta to the complex contemporary amal- Art, Activism and Public Space gams of book, music, lyrics, and dance, the American musical ARTS-UG 1080 4 UN R 9:30-12:15 Martha Bowers has proven a rich crucible for the exploration of identity and This course looks at the development of site-specific per- culture, form and content, and ideas and emotions. This arts formance with a special emphasis on projects that directly workshop will offer actors a technical foundation for acting in involve specific communities and include activist agendas. musical theater. We will deal broadly with the history of musi- “Site-specific” is a term frequently associated with the visual cal theater in context by exploring both the process by which arts but since the Happenings of the ’60s and ’70s, a body actors engage with musical material and the development of work termed “site-specific performance” has evolved as and aesthetics of the form. Participants will work on songs highly structured works of art that are designed around, for and scenes taken from the giants of musical theater including: or because of place and associated communities. As site art- Rodgers & Hammerstein, Kander & Ebb, Stephen Sondheim, ists confront the matrix of social forces and overlapping com- and more. How do we merge the receiving nature of acting munities that relate to a given site, their aesthetics, creative with the giving nature of singing? How do we “justify” the process and goals have shifted. How are they blurring the decision to sing at all? Our survey of the evolution of musical lines between art and activism, art and urban renewal, art and theater will ask: What does the history of the American musi- spirituality, art and real life? This arts workshop will empha- cal tell us about our cultural history? What do musicals teach size making site work by completing a progressive series of us about the interdisciplinary nature of living in the arts? All studies, using various artistic mediums, designed to build skills students in this course must be comfortable and confident as students work towards creating a final hypothetical site singing actors. Everyone will be required to rehearse outside project . We will also be reading about and viewing site work of class time, complete written and analytical assignments, and by seminal artists in this field. This course is recommended commit to a public presentation at the end of the semester. In to adventurous students with interests and some training in order to be accepted into this course, attendance at the first at least one of the following mediums: dance, theatre, spoken class is mandatory for all, including registered students. word poetry, media, photography and/or visual art. Readings include excerpts from One Place After Another, Miwon Kwon; Oral History, Cultural Identity and the Arts Mapping the Terrain: New Genre Public Art, ed. Suzanne Lacy;

ARTS-UG 1045 4 UN M 6:20-9:00 Judith Sloan Local Acts, Jan Cohen Cruz among others. Oral History is a complex process in the creation of artistic projects across the disciplines: documentary film, theatre, Body Wisdom for Performers book arts, exhibitions, interactive websites, public radio, ARTS-UG 1107 4 UN T 6:20-9:00 Robin Powell etc. This course offers training in interviewing and editing Performing artists have a special need to understand the techniques, and looks at the impact of “truth-telling” on the body’s full capacity. Enhanced kinesthesic awareness of our people we interview, their families and friends, ourselves muscles and bones allows us to move and perform with more and the culture at large. Research explores the ways artistic confidence, safety, and expression. This body awareness projects informed by oral history have impacted popular cul- course uses Kinetic Awareness to gain greater knowledge ture. Readings, listening to public radio documentaries, and of your bones and muscles in motion and at rest. You will viewing films will be used to address the balance in accurately integrate kinesthetic experience with factual and visual infor- reflecting the realities and integrity of the people represented mation, focused attention, movement, and touch. Each week while staying true to the vision of the artist. Readings include you will focus on one area of the body. You will use directed (but are not limited to): Art Spiegelman’s Maus I & II ; Works attention, move the part in all directions, release any held ten- by Studs Terkel including Working and Will the Circle Be sion, apply strengthening exercises and study the bones and

42 fall a r t s w o r k s h o p s major muscles of that area. Olsen’s Body Stories: A Guide to Dance? by Roger Copeland and Marshall Cohen (eds.), The Experiential Anatomy and Irene Dowd's Taking Root to Fly are Art of Making Dances by Doris Humphrey, The Intimate Act required reading along with selections from Sieg and Adams’s of Choreography by Blom and Chaplin, and Space Harmony by Illustrated Essentials of Musculoskeletal Anatomy. Rudolph Laban. To view a clip of the final performance from last year, visit YouTube, The Art of Choreography. The Art of Play

ARTS-UG 1110 4 UN R 9:30-12:15 Maria Hodermarska Making Dance: Space, Place and Technology We know that for children play is more than just fun; it is the work through which they develop. But what about ARTS-UG 1211 4 UN W 11:00-1:45 Leslie Satin when adults play? Plato wrote, “Life must be lived as play.” In this workshop, students will explore the possibilities of Through play we find our freedom, spontaneity, and our dancing across spatial categories, making dances in "real" and aesthetic. What is there in human beings that enables us to digital space. Taking our cues from contemporary experimen- play? Why is play considered an innate capacity of people tal and primarily post-modern choreographers, we will exam- from the beginning of recorded history? What qualifies as ine how our arts practices and beliefs about bodies and space play? When does play become art? In this course, everyone are linked to evolving ideas and cultural systems; we will ask plays and in doing so examines the historic and contempo- questions that tug at the assumptions of what dance is, what rary uses of play as a universal impulse of humans, across bodies are, what space is, and how these elements are signifi- generations and time. Play’s capacity to mitigate the grosser cant as components of choreography and of our dance expe- aspects of life will be considered. We will examine play as it riences. We will make and watch dances ranging from low- is reflected through theories of child development, dramatic tech works to high-tech virtual partnerships; most excitingly, improvisation, fine art, politics, technology, the symbolism of we will collaborate on performance with a group of dancers fairy tales, the historic and contemporary, uses of puppets, in a locale outside of NYU. In addition to making dances, we masks, performance, and ritual across all cultures. Students will read about contemporary dance, technology, and other will examine the necessity of play in their own child and practices and disciplines (i.e., architecture, philosophy, neu- adult lives—the creative spirit, the adventurer, and empathic roscience), view performances of choreographers and visual connection with humanity, and laughter, too. Books may artists, and meet with practitioners engaged in the questions include: Nachmanovitch’s Free Play, Bettelheim’s The Uses and practices of our study. Readings might include work by of Enchantment, Huizinga’s Homo Ludens, Jung’s Man and His Gaston Bachelard, Matthew Frederick, Valerie Briginshaw, Symbols, Nietzche’s Thus Spoke Zarathustra. Merce Cunningham, Kent DeSpain, Andrew Gurian, Ivar Hagendoorn, Yi-Fu Tuan, and other artists and scholars. The The Art of Choreography course is open to all students: anyone interested in dance and/or technology is welcome. Note: all workshop members ARTS-UG 1209 4 UN R 3:30-6:10 Kathryn Posin will be expected to participate as movers! It was the modern dance choreographer Martha Graham who said, “We are all born with genius. It’s just that most people Rudiments of Contemporary Musicianship lose it in the first five minutes.” This class helps the student get back his or her original choreographic ability. We will ARTS-UG 1305 4 UN W 6:20-9:00 John Castellano study the elements of dance—time, space and energy—and, Lab fee: $35. Course meets at Drummer's Collective, 123 West 18th Street. each week, explore a different aspect of the choreographic process. The students, through improvisations and short This course is designed to help students develop a better movement studies, will discover their movement vocabulary. understanding of music by presenting the opportunity to Each dancemaker will find their own individual choreographic experience music “as a musician.” Students learn basic music voice while being introduced to some of the major twentieth theory, develop rudimentary musicianship skills, and use that century choreographers. By nature we are all dancers, with experience to compose and rehearse student compositions. or without years of training. Choreographic process, whether The goal is for each student to be able to compose, rehearse, one wishes to be a choreographer or not, is a superb model and then perform his or her own original music. The work- for thinking, assembling and creating. A digital media compo- shop meets in a professional music rehearsal studio where nent teaches students to incorporate video into their work. students have access to a wide variety of musical instruments The final performance is in a theatrical setting with lights, sim- and other resources. The course culminates in a public recital ple costume and possibly video. Readings will include What is of works written and performed by students.

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Songwriting Walls of Power:

ARTS-UG 1325 4 UN T 3:30-6:10 Bill Rayner Public Art Lab fee: $35. Course meets at Drummer's Collective, 123 West ARTS-UG 1445 4 UN T 6:20-9:00 Terence Culver 18th Street. This workshop will explore how visual art, performance art, Song is the oldest musical form established in all eras and and activist art in the public sphere contribute to political cultures. Ancient Greek and African musicians used song for dialogue and community building. The course will integrate recreation, to preserve communal memory and to link the the hands-on practice of public art making with the study of visible world with the invisible. Music making was rooted politics, community building, culture, and social issues as they in mythology, legends and folklore and was associated with relate to public art, with a special focus on New York City. gods, ancestors and heroes. The musician, through his/her A major component of the course will be a public art proj- technique, had to be able to combine sounds and images ect that students will plan and execute during the semester. through the use of voice, gesture, dance, and instruments to Selected readings will include: Bachelard, The Poetics of Space; form a musical reminiscence. In this workshop, songwriting Deutsche, Evictions: Art and Spatial Politics; Lacy, ed., Mapping will be explored as both a musical and cultural practice. Each the Terrain: New Genre Public Art; Malraux, Museum Without student will develop songwriting techniques through the study Walls; Raven, Art in the Public Interest; Rochfort, Mexican of historical, cultural and musical aspects of songwriting. Muralists: Orozco, Rivera, Siqueiros.

Drawing and Painting The Public Square: ARTS-UG 1405 4 UN F 9:30-12:15 Bert Katz From Concepts—to Models—to Monuments This workshop is designed to provide both beginning and ARTS-UG 1470 4 UN M 9:30-12:15 Greg Wyatt advanced students with studio experience in drawing and Students should not schedule any classes immediately before or painting. A variety of media will be used, including acrylic after this class to allow ample time to travel to offsite locations, as well as to the Modern Art Foundry and the Art Students League. paint. The problem of visual conversion will be addressed as Students are expected to pay for their own travel costs. will the distinction between “what is seen and what is known” This workshop focuses on the nature of creativity for the (Picasso). In addition, by way of critiques, discussions and public space and the “model to monument” design and gallery visits, the student will explore the problem of visual bronze casting. We will explores the process by which a con- “form” and aesthetic judgment. Selected works produced cept becomes a three dimensional model and consequently during the semester will be shown in the Gallatin arts studio a public monument. We will also investigate how ideas, or on the 4th floor of 1 Washington Place. concepts in history have influenced individual artist in making public monuments. Some examples of this type of didactic art Rites of Passage into Contemporary Art that we will explore are: Perikles’ Athenian building program Practice after the Persian wars, Michelangelo’s David, the Columbia ARTS-UG 1420 4 UN R 3:30-6:10 Barnaby Ruhe University “Alma Mater” in the middle of Columbia’s cam- Modern art has been a balancing act between control and pus, the Peace Fountain next to St. John the Divine, Ghandi’s letting go. This course focuses on the psychological inter- bronze on Union Square, Grand Army Plaza, “Sherman face between the two, the “liminal” zone. We will survey Memorial,” Avenue of Americas “Liberators Monuments,” modern artists’ techniques for tapping the sources of creativ- Central Park “Literary Walk-Shakespeare” and “Angel of the ity, including Dada collagists’ free-associations; Surrealists’ Waters” and other sculptures and architectural sights in New automatic writing, doodles, and “cadavres exquises”; and York City. In addition to visiting most of the above New York Abstract Expressionists’ embrace of chaos as a resource. We City’s public monuments, each student in the class will adopt- will engage in very simple exercises: doodling, speed draw- a-monument that is in a decaying state and develop plans to ing, painting an abstract mural as a group, keeping a liminal restore it or study the possibilities to prevent it from further journal, collaging, and exploring ritualistic techniques. We decay. Some sessions of this workshop will be conducted at will follow up each exercise with discussions, take a trip to the Art Students League with visits to the Queens Modern Art MoMA, and conclude the course with an essay, reexamining Foundry. Readings may include Plato’s Timaeus, Benvenuto modern art in light of the inner journey each of us has taken Cellini’s Autobiography, Cezanne’s Letters, Delacroix’s Jounal, during the course. Readings include writings by Arnold van as well as Goethe and Leonardo on painting. Gennep, R.D. Laing, Maurice Merleau-Ponty, Victor Turner, Mircea Eliade, James Elkins, and Frida Kahlo.

44 fall a r t s w o r k s h o p s

Beyond Picture Perfect: skills rather than on technical development, and experience Personal Choice in a Digital World in sound or video editing is helpful but not required. There

ARTS-UG 1485 4 UN T 3:30-6:10 Jeff Day will be a very strong emphasis placed on group critique and discussion. Beyond Picture Perfect explores the many choices available to today’s image makers. New technology combined with traditional photographic techniques will be addressed, Playwriting enabling the students to realize their distinctive image-making ARTS-UG 1565 4 UN T 6:20-9:00 Myla Churchill vocabulary. Weekly discussions include understanding hard- This writer’s workshop explores the symbiotic nature of ware mechanics, choosing a personal color palette, and rec- playwriting. Through a series of exercises, we will discover ognizing “your” unique composition key. We will debate the how environment and experience influence identity, how many analog and digital tools available to photographers vital plot is built on desire and need, and why perception and to their artistic expression. These concepts will be supported cultural context dictate the form or structure of a play. By by weekly assignments and class critiques culminating in a final examining classical paradigms and their influence on modern project portfolio. Students with interest in analog or digital theatre, we can determine how to use or break these rules formats will be encouraged to develop an understanding of to find our own voices. And as we mine our souls and sur- their medium and form an original visual strategy. Museum/ roundings for the seeds of creation, we will write a one-act gallery visits and field trips for on-location photographing will play. Some readings include Fornes, Parks, Fugard, Bogosian inspire students to create their own way of seeing. Readings and Chekov. may include selections from: Robert Adams, Why People Photograph; London and Upton, Photography. Writing for the Screen I

ARTS-UG 1570 4 UN R 6:20-9:00 Selma Thompson Sound Art This workshop is for writers ready and willing to make the ARTS-UG 1490 4 UN W 3:30-6:10 Nina Katchadourian time commitment necessary to produce a well-structured This workshop investigates sound as a medium as it comes outline and at least the first act of feature-length screenplay into play in contemporary visual art and installation. We will (although students will be supported/encouraged to write ground the course by looking at examples from early and a complete first draft, if possible). We will hone our craft mid-twentieth century experimental and electronic music through writing exercises, and through screenings of film that have provided the intellectual and conceptual anteced- scenes that illustrate aspects of dramatic writing. Attention ents for sound art today. John Cage, Alvin Lucier, Pierre will be paid to the fundamentals of drama, including dia- Schaeffer, Max Neuhaus, Pauline Oliveros and Iannis Xenakis logue, subtext, motivation and character-revealing action. are some historical touchpoints; Bruce Nauman, Marina The majority of our time will be spent presenting work and Rosenfeld, Christian Marclay, Kaffe Matthews, Steven Vitiello, giving/receiving feedback; the ability to engage in collabora- Chris Kubick and Anne Walsh are examples of contemporary tive discussion, and offer useful commentary, is an essential artists for whom sound is central. Students will work both professional skill. Additionally, we will read/analyze recently collaboratively and individually using simple sound-editing produced screenplays to understand structure and how to software. After basic technical instruction in recording, edit- make the story exciting “on the page.” Students should come ing and mixing, students will undertake a series of production to the class with some scriptwriting experience and/or a assignments that will require the use of found sound, appro- background in acting or film. priated sound as well as field recordings. The course will culminate in an assignment that explores the site-specific uses Writing for Television I of sound. There will be visits to various venues in New York, ARTS-UG 1571 4 UN M 3:30-6:10 Imani Douglas such as The Dream House (La Monte Young/Marian Zazeela), and guest lectures by contemporary artists working with This workshop will explore the process of turning an idea sound. Readings include selections from Audio Culture (Cox/ into a teleplay. Prior to delving into the world of television, Warner), listening selections from UbuWeb, and a variety of we will take a peek into writing for stage and film. The differ- contemporary reviews, criticism and artists’ statements. The ences and similarities of these mediums will be investigated, emphasis of this class will fall more on expanding conceptual via such works as Neil Simon’s The Odd Couple, successful

2012 45 a r t s w o r k s h o p s in all forms—stage, film, and TV sitcom. Structure, func- Indigenous people’s representation, in mainstream films, tion and form will be examined via the reading of scripts photography, and exhibition sites such as museums. We will and viewing of films and classic TV. Students will spend ten research specific authors and media projects, and discuss the weeks of the semester creating, developing, and writing a roles of the institutions that present this work through exhibi- sitcom episode of a classic television series, such as I Love tions, events, festivals, and publications. The course features Lucy.Students will learn first-hand what it takes to complete guest lecturers and requires class viewing of films and videos a writing assignment from pitch, to beat sheet, outline, first that are otherwise unavailable on the market. Central read- draft, rewrite, to table draft, under the direct supervision and ings may include Through Navajo Eyes: An Exploration in Film guidance of an executive producer. In this way, students will and Communication and Anthropology (1997), by Sol Worth learn the business of the TV writer and what it takes to be and John Adair, Unthinking Eurocentrism: Multiculturalism successful in “the room” of a Hollywood TV show. Readings and the Media (1994), by Ella Shohat and Robert Stam, may include Writing for Television by Madeline DiMaggio Wiping the War Paint Off the Lens: Native American Film and Laughs, Luck and Lucy! by Jess and Gregg Oppenheimer. and Video (2001), by Beverly Singer, and Global Indigenous Media: Cultures, Poetics and Politics, by Pamela Wilson and Mapping as a Spatial, Political, and Michelle Stewart (2008). Films will include works by Victor Environmental Practice Masayesva, Jr. (Hopi), Dante Cerano (Purepecha), Zacharias Kunuk (Inuit), and works from the Video in the Villages proj- ARTS-UG 1603 4 UN TR 2:00-3:15, F 12:30-1:45 L. Harpman ect in Brazil. This arts workshop engages the practice of mapping as a cultural project with its attendant socio-political and environmental implications. The course looks critically at visual Architecture and Urban Design Lab I documentation of information, focusing on how our under- ARTS-UG 1619 6 UN W 11:00-1:45, W 2:00-3:15 M. Joachim standing of the environment is shaped by different maps and Please note: This is a six-credit course with extended meeting map-making protocols. All maps are tools and they all shape hours on Wednesday. and challenge our understanding of space, place, and events. This workshop and design lab aims to impart skills and theo- This arts workshop is conceived as a laboratory for the study ries essential to intelligent green design, an socio-ecological and creation of maps. We will review the history of maps and practice applicable to all materials, buildings, and infrastruc- map-making; create maps and diagrams for real-time events, ture systems. The course will look broadly at types of inhabi- which may include natural resource management, population tation, including hives, webs, nests, and lodges; houses, hous- migration, epidemics, weather, and public festivals. Authors ing, cities, and regions; and extreme environments including may include Denis Cosgrove, Mark Monmonier, Michel de emergency shelters and outer-space habitats. Our objectives Certeau, James Corner, Peter Hall, Edward Tufte, Ginger are grounded in understanding the architectural consequenc- Strand, Ingrid Gould Ellen, Nicholas Felton, and Matt Ridley. es of socially responsible and community based endeavors in In a workshop format, this class will ask students to cre- urban areas. As a project-based course, students will work ate graphic and written responses to the weekly readings. individually and in teams and will combine original research Digital design experience (familiarity with the Adobe Suite) is with design proposals. Intellectual design exercises in the strongly suggested, but not required. beginning of the semester will prepare students for an intense focus on a current problem facing New York City. Students Native American Film and Video: will be expected to present their ideas in mock-ups, scaled Performing Self-Representation Through Media models, schematics, lifestyle drawings, and other forms of imaging. Thus, as they create and develop their own original ARTS-UG 1604 4 UN F 12:30-3:15 Amalia Cordova design proposals, students will experiment with a variety of This course will study the ways that Indigenous peoples techniques and forms of representation. Authors may include and independent Native artists in the Americas have turned Stephen Johnson, William McDonough, Witold Rybczinksi, to film, video, and digital arts to dispute ethnographic and Constance Adams, Ricky Burdett, Keller Easterling, Peter Hollywood imagery, and create their own audiovisual media Hall, William Mitchell, Keith Critchlow, Ernst Haeckl, James “from within.” We will explore notions of Third and Fourth Corner, Victor Papanek, Stan Allen, Kate Orff and others. cinema, indigenous self-representation, collective authorship,

46 fall a r t s w o r k s h o p s

Architectural Design and Drawing Digital Art and New Media

ARTS-UG 1621 4 UN W 6:20-9:00 Donna Goodman ARTS-UG 1635 4 UN R 3:30-6:10 Cynthia Allen Gropius once described architecture as a combination of This workshop seeks to bring students from varying back- "form, function, and delight." In this workshop, students are grounds together to engage in evaluating and developing introduced to the experience of designing buildings. The digital new media for the Internet and other new media art first project explores the design process. Students develop installations. The Web makes possible a powerful new kind diagrams and drawings, analyzing issues of form, function, of student-centered, constructivist learning by collecting technology, site, and environment in buildings by well known at a single site a phenomenal array of learning and creative architects. Drafting techniques are also presented through resources that can be explored with simple point-and-click preparation of plans, sections, elevations, and renderings. In skills: photos, text, animation, audio and film materials. the second project, students design residential lofts. They Emerging new media technologies allow cross-development begin with a program and a basic design concept. Planning and implementation to the Web. Each student brings to the theories, such as function, circulation, massing, and spatial class a set of experiences and skills, such as research, writing, organization are discussed. Visual concepts, such as sym- design, film, music, photography, computer gaming, perfor- metry, axis, and proportion are also introduced. Methods mance, illustration, computer literacy, software knowledge for developing designs through models, perspectives, and or Internet experience. Through lectures, including a survey isometric drawings are also presented. Prior drafting experi- of digital new media currently on the Internet, group discus- ence is helpful, but not required. sions, field trips and workshops focusing on their personal skills, students will develop individual projects. The work- Good Design: Scale shop will deconstruct innovative Web sites, computer and video games, film, using digital new media, as well as discuss ARTS-UG 1626 4 UN MW 9:30-10:45 Louise Harpman concepts, content strategies, and frameworks that bridge The principles of what is considered “good design” are unique theory and practice. Class projects, readings, writings, and to each design discipline. And yet, by territorializing the Blog journal-keeping are essential components of this course. design professions, we fail to provide a shared dialogue to Students are encouraged to supply their own media. engage a wider discussion that extends to the public realm. The Museum of Modern Art in New York institutionalized its support for mid-century design artifacts, through its curated Making Virtual Sense: 3D Graphics Studio for Critically-Driven Creative Applications Good Design shows in the early 1950s. Through those shows and the newly developed "gift shops," American consum- ARTS-UG 1647 4 UN F 9:30-12:15 Carl Skelton ers came to appreciate contemporary design of furniture, Until recently, the creation of interactive 3D graphics was cheese slicers, textiles, and "branded" storage containers, only possible for large and capital-intensive uses: the armed like Tupperware. But, by focusing on domestic objects and forces, large-scale architectural/engineering work, mass consumption, it can be argued that the opportunity for a entertainment. Now, open-source applications and powerful larger discourse on the value of good design for towns, cities, personal and portable computers are making it practical for and regions was lost. This workshop engages and evaluates individuals and small groups to independently build and share the tools and processes that are used to design objects as alternative visions. Whether you are interested in exploring well as buildings and landscapes. Projects increase in scale new ways to construct complex networks of ideas in the throughout the term, as students design a thing they can hold present, or to imagine physical spaces to reflect and support (an object), something that can hold them (clothing, furni- new ways of life, this arts workshop provides a blend of criti- ture), and a space they might inhabit (a room, a house). As a cal orientation and hands-on experience. In this open project project-based course, students will work individually and in studio, the majority of course time and work will be taken teams. Digital design experience is helpful but not required. up with the development of student-built individual or small team concepts, to be developed as 3D graphic "fly-through" models. Theoretical discussions will be initiated with a mix of relevant writings and media. Here is a representative sam- pling of sources: Douglas Engelbart, Eric Raymond, William

2012 47 a r t s w o r k s h o p s

Gibson, Zaha Hadid, Judith Donath, the Athenian Acropolis, to performing and visual arts, technology, crafts, and the envi- the Kalachakra mandala, Salisbury Cathedral, the Schindler ronment. No matter the topic, design has become an increas- house, Artigas gardens, the 1958 World's fair Philips pavilion, ingly crucial editorial element. It sets one publication apart the Seagram's building, Grant Theft Auto IV, the monastery of from the next, and at its best unifies the content and instantly La Tourette, the Mangin plan, compendium.org, Betaville. telegraphs to the reader where it figures in the media land- scape. In this workshop we will explore this rapidly chang- Creating a Magazine: ing world. We will discuss notions of good vs. bad design, From Inspiration to Prototype engaging vs. dull content. And, through the development of

ARTS-UG 1652 4 UN MW 2:00-3:15 Lise Friedman in-class publications, will put into practice the many aspects that contribute to a magazine's creation, from initial concept A crazy-quilt of high and low culture, magazines—whether to the realization of a prototype. Directed readings (including printed or rendered digitally—are one of our most potent "I Wonder" and "The Best American Magazine Writing 2011"), forms of cultural commerce, a striking mix of content and fieldtrips, and visits from magazine professionals will contrib- form, covering everything from politics, fashion, and celebrity ute to our discussion.

48 fall c o m m u n i t y l e a r n i n g

Lyrics on Lockdown Gentrification and Its Discontents

CLI-UG 1444 4 UN M 2:00-4:45 P. Anderson / M. Hall CLI-UG 1453 4 UN M 3:30-6:10 René Poitevin This course will focus on the uses of the visual and performing This course takes a close look at the process of community arts and as tools for positive and therapeutic social change. restructuring known as “gentrification” – namely the displace- Through hands-on collaboration with the Blackout Arts ment of poor residents and local stores by affluent and middle Collective and the East River Academy, students will create class households and businesses. Through social theory, lit- artistic and dialogical spaces for critically thinking about the erature, and film, we will explore the intersection of global, crisis of incarceration in this country and the role of spiritual- local, and institutional mechanisms driving the gentrification ity and healing. Speakers may include representatives from process. More specifically, we will look at the ways in which the Institute for Juvenile Justice & Alternatives and Voices gentrification in NYC, while triggered by macroeconomic Unbroken. Readings include writings by scholar/activists such forces, is in turn mediated by local ‘growth machines’ led as Augusto Boal, Paulo Freire, Michelle Alexander and Bryonn by real estate coalitions – and community resistance. And Bain. Students will create arts-based workshops which we will also explore at the geography of gentrification in the they will facilitate with incarcerated youth at Rikers Island. context of several NYC neighborhoods (i.e., the Lower East Students do not need to be artists to participate in the course, Side, Chinatown, and East Harlem). however, creative building and contemplative practice will be an integral part of the curriculum. Weekend meetings are a Literacy in Action requirement of the course. CLI-UG 1460 4 UN M 6:20-9:00 Dianne Ramdeholl This course combines volunteer work in New York City adult Shifting Focus I: literacy and English as a second language programs with an Video Production and Community Activism academic introduction to the philosophy, history, and current CLI-UG 1445 4 UN M 6:20-9:00 Mark Read issues of adult literacy. Students will work as volunteer teach- Shifting Focus I examines the history, theory and practice of ers of reading and writing oral English or mentors at such video advocacy. The moving image has long been used by institutions as the University Settlement, International Rescue grassroots political movements to mobilize constituencies Committee, Turning Point, and Fortune Society. In class they in order to effect social change. Today, video has become an will read about and discuss such key issues as which “basic essential tool for social and political actors working on a wide skills” U.S. adults now need; which adults lack these skills and array of issues. In part one of this hands-on class, students will why; the implications for our economy, families, communi- examine the biases of corporate-controlled media; learn the ties, and democracy; the instructional approaches developed theory and history of video activism; develop basic camera for adults; and the steps that might be taken to build support skills; and reflect on lessons learned in the field. Outside of for high-quality, adult basic-skills programs. Throughout the class, students will break into groups and begin work on col- course, students will relate such issues to their own on-site laborative video projects with local community organizations; experiences in class discussion and role-playing, and create projects that will be completed in Shifting Focus II, in the a portfolio of writing that includes on-site observations, les- Spring 2013 Semester. Readings will include selections from son plans, reflections, and a final analytical paper. Readings Noam Chomsky, Thomas Harding, and Harvey Molotch. may include Making Meaning, Making Change (Auerbach); We Make the Road by Walking (Horton and Freire); Pedagogy of the Oppressed (Freire), as well as other articles and journals (Focus on Basics and The Change Agent).

2012 49 g r a d u a t e e l e c t i v e s

PERMISSION OF INSTRUCTOR REQUIRED Dramatizing History I ELEC-GG 2575 4 UN R 6:20-8:20 Michael Dinwiddie Open to advanced undergraduates with permission of the instructor The Shape of the Story: ([email protected]). Content into Form How does the dramatist bring alive an historical epoch to ELEC-GG 2545 4 UN W 6:20-8:20 Dave King enliven a work for stage, film or television? What elements Open to advanced undergraduates with permission of the instructor are essential to create a compelling narrative? Should the ([email protected]). characters be actual people or fictionalized composites? How does the telling transform a story? And how can a story And what ethical issues are raised in such decision making? govern its own telling? In this course for writers of fiction and In this arts workshop students will embark on a journey to nonfiction, we consider diverse storytelling strategies, looking bring alive and shape stories that hold personal significance. at fiction, creative nonfiction and narrative poetry, as well as a Whether the tales are connected to family, culture, gender few short films. Through exercises in both prose and poetry, or ‘race’ memory, there are certain steps that may enhance we explore how a writer reimagines a project via formal deci- the creation and development of dramatic work based on sions about voice, genre, point of view, diction, even meter historical information. The goal, based on the student’ work, and rhyme. The intent is to move us away from comfort is the fully develop the outline of the story. Readings may zones, to help us draw invention from the unfamiliar and to include such texts as Aristotle’s Poetics, Lajos Egri's The Art of broaden our literary palettes, so students should be prepared Dramatic Writing, Robert McKee's Story Jeffrey Sweet’s The to be daring, open-minded and seriously playful. (Please note Dramatist’s Toolkit, and plays by David Henry Hwang, Lynn that while this is not a workshop in the conventional sense, Nottage, Matthew Lopez and monologuist Michael Daisey, the instructor will be available during office hours to discuss among others. personal creative projects at the student’s request.) Readings will include works by Amy Hempel, Ryszard Kapuscinski, Vikram Seth, Vladimir Nabokov, Samuel Taylor Coleridge, Nicholson Baker, Robert Frost, David Foster Wallace, Marjane Satrapi, David Shields and others; also films by Su Friedrich, Maya Deren and Kenneth Anger.

50 fall g r a d u a t e e l e c t i v e s

American Society and Culture in Transition Democratic Persuasion

ELEC-GG 2720 4 UN M 6:20-8:20 Laurin Raiken ELEC-GG 2745 4 UN M 6:20-8:20 Stephen Duncombe Open to advanced undergraduates with permission of the instructor Open to advanced undergraduates with permission of the instructor ([email protected]). ([email protected]). What changes in Post WWII American society led to the cur- This course begins with the controversial premise that rent economic crisis and political stalemate? For almost seven persuasion and propaganda are a necessary part of modern decades following World War II the United States and the politics. With this approach we reject the simple project of industrialized Western World experienced unprecedented critique and condemnation of propaganda and set for our- economic growth and geopolitical dominance. The Cold selves the far more difficult task of rethinking how one might War,a period of superpower nuclear threat, tuned out unex- create methods of mass persuasion that build democracy pectedly to be a period of relative global security. The primary instead of undermining it and facilitate political discussion leader and beneficiary of the Cold War was the United States. instead of closing it down. We begin by exploring the history More recently new and unforeseen eruptions of violence and of rhetoric and persuasion, and defining what we mean by major geopolitical clashes have caused threats to political propaganda. Next, we will study classic examples of pro- stability. Mounting crises in American and European econo- paganda produced by advertising agencies and totalitarian mies have brought about economic downturn, disruption and states. Then, as an extended case study, we will explore how austerity, also threatening world economies. Conservative photographs, speeches, architecture, murals, guidebooks and forces have reasserted their influence in American society and even material projects of the New Deal in the United States reignited the Culture Wars of the last four decades; American might suggest an alternative model of propaganda. Finally, we society and the world order are in radical flux. This seminar will use what we have learned to sketch out a set of principles introduces the perspectives necessary for an interdisciplin- for democratic mass persuasion. Authors, artists, and sites ary approach to social change and the our uncertain political, we will look at include Plato, Aristotle, Susan Sontag, Stuart social and economic lives. Readings will include Dorothy Lee, Ewen, Walter Lippmann, Lizabeth Cohen, Michael Denning, Valuing the Self; Hannah Arendt, On Violence; John Kenneth Michael Schudson, Lawrence Levine, Alan Trachtenberg, Leni Galbraith, The Good Society; Tony Judt, Ill Fares the Land; John Riefenstahl, Joseph Goebbels, Edward Bernays, Lewis Hine, Lanchester's Why Everybody Owes Everybody and No One Can Dorothea Lange, Pare Lorentz, Woody Guthrie, Franklin Pay; writings of Barrington Moore Jr., and economists such as Delano Roosevelt, the Timberline Lodge, Bonneville Dam, Thorstein Veblen, Amartya Sen, John B. Taylor, Joseph Stiglitz and Coit Tower. and Paul Krugman.

2012 51 individualized p r o j e c t s

Private Lesson Independent Study

INDIV-UG 1701 1–4 UN INDIV-UG 1901 2–4 UN Pass/Fail Only. Deadline for submitting proposal is Sept 10. To Deadline for submitting proposal is May 1. To register, please register, please contact Faith Stangler Lucine ([email protected]). contact [email protected]. Private lessons provide students with the opportunity to In an independent study, students work one-on-one with earn academic credit for their studies at performing or visual a faculty member on a particular topic or creative project. arts studios in the New York area. These studies are meant Often the idea for an independent study arises in a course; to supplement work begun in regularly scheduled classes at for example, in a seminar on early 20th-century American NYU or to provide students with the opportunity to study history, a student may develop an interest in the Harlem areas for which comparable courses at the University are Renaissance and ask the professor to supervise an indepen- unavailable to Gallatin students. Private lessons may be taken dent study focused exclusively on this topic during the next in voice, music, dance, acting, and the visual arts, with teach- semester. Students may also develop creative projects in areas ers or studios of their choice—as long as they have met with such as music composition, filmmaking, or fiction writing. the approval of the Gallatin faculty. Credit for private lessons Independent studies are graded courses, the details of which is determined by the number of instruction hours per semes- are formulated by the student and his or her instructor; these ter. Students taking private lessons are required to submit specifics are described in the Independent Study proposal and a journal and final assessment paper to the faculty adviser. submitted to the Dean’s Office for approval. The student and Unlike private lessons offered elsewhere in the University, instructor meet regularly throughout the semester to discuss Gallatin’s private lessons are arranged and paid for by the the readings, the research, and the student’s work. Credit is student. The student is responsible for full payment to the determined by the amount of work entailed in the study and studio or instructor for the cost of the private lessons, as well should be comparable to that of a Gallatin classroom course. as to NYU, for the tuition expenses incurred by the number Generally, independent studies, like other courses, are 2 to of private lessons course credits. 4 credits. Meeting hours correspond to course credits; a 4-credit independent study requires at least seven contact Internship hours per term between the teacher and the student.

INDIV-UG 1801 2–8 UN Pass/Fail Only. Deadline for submitting proposal is Sept 10. To Senior Project register, please contact Faith Stangler Lucine ([email protected]). INDIV-UG 1905 4 UN Students are required to attend two workshops (dates to be Deadline for submitting proposal is May 1. To register, please announced). contact [email protected]. Internships offer Gallatin students an opportunity to learn The senior project is a 4-credit independent research or experientially at one of New York City’s many social insti- artistic project that a student pursues under the guidance tutions in the arts, media, government, business, nonprofit of a faculty mentor generally in the final semester before or community action sectors. Students gain first-hand work graduation. In some cases, a student may choose to do a experience and develop skills and knowledge that will help senior project in his/her penultimate semester and draw that them to explore the relationship between practical experi- project into the senior colloquium discussion. Senior projects ence and academic theory, as well to pursue career options. may include, but are not limited to, a paper based on original Gallatin provides an extensive list of available internships; stu- research, a written assessment of a community-learning initia- dents may pursue their own as well. Internships are typically tive, an artistic project such as a film or novel, etc. Successful unpaid positions, although students in paid positions are per- completion of the senior project will be noted in two ways: mitted to receive credit. Students work anywhere from 8 to the student will receive a letter grade for the course titled, 24 hours each week; for each credit, students are expected “Senior Project,” and upon graduation a notation will appear to devote three to four hours per week during the fall and on the transcript listing the title of the senior project. Senior spring semesters, and at least seven to nine hours per week projects deemed exceptional by the Gallatin Senior Project during the six-week summer sessions. Committee will be awarded honors.

52 fall individualized p r o j e c t s

Tutorial with the instructor to formulate the structure of the tutorial,

INDIV-UG 1925 2–4 UN the details of which are described in the tutorial proposal and Deadline for submitting proposal is May 1. To register, please submitted to the Gallatin School for approval. The tutorial contact [email protected]. group meets regularly throughout the semester, and students Tutorials are small groups of two to five students working follow a common syllabus: all participants complete the same closely with a faculty member on a common topic, project, or readings, write papers on similar topics, etc. Students in the skill. Tutorials are usually student-generated projects and like same tutorial must register for the same number of credits. independent studies, ideas for tutorials typically follow from Credit is determined by the amount of work (readings and questions raised in a particular course. Students may collabo- other types of assignments) and should be comparable to rate on creative projects as well, and some titles of recent that of a Gallatin classroom course. Tutorials range from 2 tutorials include “Creating a Magazine,” “Dante’s Literary to 4 credits. Meeting hours correspond to course credits: a and Historical Background,” and “Environmental Design.” 4-credit tutorial requires at least fourteen contact hours per Tutorials are graded courses, and students work together term between the teacher and students.

t r a v e l c o u r s e f o r s t u d e n t s s t u d y i n g a b r o a d

The Art of Travel Web site: students blog about their responses to the readings

TRAVL-UG 1200 2 UN Steve Hutkins and their own travels, post photos, and comment on each Enrollment is restricted to students studying abroad at an NYU site other’s posts. Enrollment is limited to students studying at during Fall 2012. one of NYU’s study abroad sites. Reading assignments are This online course provides an opportunity for students individualized for the city and country of each study-abroad studying abroad to reflect, analytically and creatively, on their site, but some readings are for the whole class: these may travel experiences. We examine the art created by travel- include selections from de Botton’s The Art of Travel, Urry’s ers—travel literature, photography, paintings—and consider The Tourist Gaze, MacCannell’s The Tourist, and Leed’s The how traveling can itself be viewed as an art, with its own Mind of the Traveler. For more information, see the course conventions, styles, traditions, and opportunities for innova- website: travel-studies.com. tion. All of the course activities are conducted on the class

2012 53 f a l l 2012 f a c u l t y

Cynthia Allen Amalia Cordova Gregory Erickson digital new media; Net art; digital archival art indigenous media and politics; Latin American 20th-century American and European literature; preservation on the Internet; Web comics; com- cinema; documentary studies; museum and cu- 20th-century music; postmodernism; music and puter gaming ratorial studies; performance and post-colonial literature; Bible as literature; theology and athe- theory; Afro-Brazilian dance and culture ism; cultural studies; television studies Piper Anderson applied theatre; community-based performance; Nina Cornyetz Luke Fleming community cultural development; arts-in-educa- critical, literary and filmic theory; intellectual language and culture; Amazonian ethnography; tion; youth development; prison arts projects; history; gender and sexuality; cultural studies; language shift and language politics in indige- community-based strategies for prisoner re- psychoanalytic and materialist-feminist method- nous communities; gender and language; taboo entry; community healing through performance ologies; specialization in Japan and avoidance speech; honorifics and polite- ness; comparative ethnolinguistics; performativ- Peder Anker Marie Cruz Soto ity and the philosophy of language history of science, environmental affairs, ecol- cultural history of the peoples of the Caribbean, ogy, and sustainable design Latin America and the United States with an June Foley emphasis on identity negotiations, postcolonial 19th- and 20th-century literature; the novel; fic- Cris Beam and feminist theory, memory and historical nar- tion writing; memoir writing; writing for young literary nonfiction; memoir; urban journalism; rations, nationalism, empire studies, community readers gender research; prison writing formations and transnational networks Valerie Forman Victoria Blythe Terence Culver literature and culture of early modern England; English literature; law and literature; critical public art; art history; community and interna- early modern European drama, especially theory; genre studies; the journal tional development; the role of technology and English and Spanish; early modern European media in education and art women writers; early modern Caribbean; early Christopher Bram modern England in a global context; economic fiction; nonfiction; writing about movies Kimberly DaCosta history; political theatre; political theory; and concepts of race in different societies, consump- Marxist theory James Bourke tion in comparative perspective, interracial inti- democratic theory; history of political thought macy, sociology of the family Emily Fragos (pre-modern and modern); value pluralism and poetry; fiction writing; rhetoric moral disagreement; ethics; global justice and Dan Dawson human rights African and African American art, history and Rosalind Fredericks culture; spirituality and art; oral traditions; pho- political economy of African development; Af- Martha Bowers tography and social change rican cities; youth and gender studies; cultural, social dialogue through the arts; community political, and urban geography; political ecology; arts practices and youth development; cross-cul- Jeff Day Senegal tural arts projects; dance; social choreography; photography; documentary; mixed media; visual arts and urban renewal theory and practice; color theory; traditional and Lise Friedman contemporary street celebrations; exploration performing and visual arts; translating perfor- Bill Caspary of cultural overlaps; sailing, sustainability and mance experience into words and images; pho- modern social and political thought; democratic documentation of coastal waters tography; graphic design; writing theory; political psychology; philosophy of science; peace studies Chinnie Ding Sharon Friedman modernisms; the 1930s; Asia; labor; poetry and modern drama; literary interpretation; feminist John Castellano poetics; political feeling; world cinema; pastoral; criticism; critical writing; writing across the music performance, business, and technology dance; opera disciplines Myla Churchill Michael Dinwiddie Sharon Fulton dramatic writing; musical theatre; visual media; African American culture; theatre history and medieval literature and culture; 14th-century film and video production criticism; filmmaking; dramatic writing; ragtime British literature; oral tradition; storytelling; music animal studies; essay writing; fiction writing Laura Ciolkowski 19th- and 20th-century literature and culture; Imani Douglas Jean Gallagher critical theory; gender studies; travel literature; theatre; aesthetic education; women/African poetry and poetics; modernist literature and cultural studies; gender and technology; litera- American women in drama; television and film culture; feminist theory and gender studies; ture and the body writing visual culture; 19th- and 20th-century American literature Gene Cittadino Gail Drakes history of science and medicine; environmental American studies; 20th-century U.S. history, Afri- Tara Gellene history; science, technology, and society; history can diaspora studies; historical memory; legal nineteenth- and twentieth-century- British litera- of ecology and evolutionary biology studies; “heritage” and consumer culture ture; the novel; theories of fiction; ethics and literature; utopian literature; fin de siècle occult- Lori Cole Stephen Duncombe ism; genre fiction transatlantic avant-garde; theories of translation; media and cultural studies; history of mass 20th century literature and visual culture; mod- media; activist media and alternative culture; D.B. Gilles ernism of Europe and the Americas arts and politics history of comedy on television; great screen comedies; art of parody; the humorous essay

54 fall f a l l 2012 f a c u l t y

Lisa Goldfarb A. B. Huber Antonio Lauria-Perricelli 19th- and 20th-century European and American twentieth-century American literature; the novel; power, class, culture, state; empire; everyday life; poetry and fiction; music and literature; ques- the literature and culture of modernity; photog- Caribbean/Latin America tions of belief in literature; expository writing raphy; critical theory; psychoanalysis; gender and queer theory Jennifer Lemberg Donna Goodman late 19th- and 20th-century American literature; art; architecture; philosophy; film; visionary Robert Huddleston gender; trauma; Holocaust studies; American theories; technology; urban and environmental 19th- and 20th- century literature; history and Indian literature; ethnic literature studies theory of poetry; philosophy and literature; translation studies; autobiographical writing Patricia Lennox Judith Greenberg Shakespeare studies and performance; Elizabe- 20th-century French and British literature; trau- Steve Hutkins than/Jacobean literature and culture; early mod- ma studies, psychoanalysis; women’s studies; literature; place; travel; utopia; writing ern women; theatre and film history; fashion; Holocaust studies mythology, ancient and modern Myles Jackson Hannah Gurman cultural history of physics in 19th-century Ger- Bradley Lewis history and culture of US foreign relations; the many; the relationships between music and cultural studies of bioscience, medicine, and cold war; history and theory of international physics, performers and musical automata; the psychiatry; disability studies, science studies; conflict; twentieth-century American literature history of creativity, humans and machines; cultural and representational theory; medical and film; political rhetoric intellectual property and human and plant ge- humanities; psychoanalysis netics; genetic privacy Aaron Hamburger Andrew Libby 19th-, 20th-, and 21st-century literature; creative Mitchell Joachim 18th- and 19th-century Romantic poetry; critical writing; gender and sexuality; cultural identity; architecture; urban design; ecological design and literary theory; social and political theory the relationship of place to the self; travel and planning; media technology; transportation; environmental studies; urban studies; computa- Moya Luckett Rahul Hamid tion; fine and applied arts; contemporary art film history, theory and criticism; television stud- Iranian cinema; modernism in cinema; early history and theory ies; new media; gender, media historiography; film; narrative theory; politics and aesthetics; theories of modernity, fashion, celebrity and adaptation; film criticism Barbara Jones consumer culture fiction writing, memoir writing, narrative nonfic- Ethan Harkness tion writing, and the personal essay; the power Ritty Lukose Early Chinese cultural history and technical of strong writing skills in daily life, commerce gender, globalization, colonial, postcolonial and traditions (e.g. agriculture, medicine, calendri- and politics; the business of book publishing, diasporic modernities; youth, education, devel- cal science, divination, and structured play and book marketing and book reviews in the 21st- opment, mass media; feminisms, South Asia games); history of science; pre-Buddhist history century and its diasporas; political, cultural and social of religion; Chinese apocrypha; Chinese paleog- theory raphy and excavated manuscripts Lauren Kaminsky modern world history; Western and Eastern Julie Malnig Louise Harpman European studies; gender and sexuality; state performance studies, dance and theatre history, architectural and urban design; sustainability; theory and socialism; film theory, and criticism; social dance; early 20th- infrastructure systems; and literature of alterna- century American culture and the arts; feminist tive futures Nina Katchadourian performance and criticism; performance art; contemporary art (sculpture, sound, video, pho- critical writing Scott Hightower tography, drawing, and public art); songwriting writing, poetry, non-fiction, translation, compar- and performance; Balinese music; hybrid visual Patrick McCreery ative literary studies, prosody and poetics art and music forms; interdisciplinary practice; sexual politics; childhood; family life; urban collaboration; language and translation; natural studies; American studies Maria Hodermarska history and animal studies creative arts therapies; community-based men- Linn Mehta tal health services; arts-in-education; group Bert Katz 19th- and 20th-century comparative literature; dynamics; improvisation and autobiographical studio art; photography; contemporary art literature of the Americas; historical approaches performance thought; histories of visual art and artist’s train- to European and postcolonial literatures, espe- ing cially in Ireland, India, Africa, and Latin America Justin Holt and the Caribbean; poetry; modernism and ethics; social and political philosophy; political Dave King post-modernism; literary theory; cultural devel- economy; German Idealism; history of meta- fiction and poetry; writing, rhetoric and transla- opment; women and development physics and epistemology; philosophy of sci- tion; art and art history; film and film history; ence; theories and history of the welfare state; folklore; politics Eve Meltzer philosophy of law contemporary art, theory, and criticism; history Scott Korb and theory of photography; psychoanalysis; Kristin Horton essay writing; memoir; creative non-fiction; re- structuralism; phenomenology; discourses on directing; new play development; Shakespeare ligious writing; belief and popular culture; faith materiality and material culture in performance; W. B. Yeats; Caryl Churchill; and politics; ethics; Civil War; reform move- religion and theater; process drama; puppetry; ments; slavery and slave narratives Neil Meyer theater for social change; cross-cultural dialogue 18th- and 19th-century American literature and culture; religion and literature; queer theory; affect studies

2012 55 f a l l 2012 f a c u l t y

Keith Miller Robin Powell Antonio Rutigliano modern and contemporary art; Realism; figura- dance; performance; mind/body integration/ Greek, Roman and medieval literature; semi- tive painting; narrative cinema; video art; film- body therapies; health and fitness; psychology; otics; romance languages; transformation of making clinical social work desire; luminality: Dante, Virgil, and Boethius; French and Italian cinema; medieval and Renais- Bella Mirabella Laurin Raiken sance art, philosophy, and history Shakespeare; Dante; English, Italian and Renais- comparative social and cultural history; sociol- sance literature; drama and culture; ancient ogy of the arts; analysis of American social, Kathryn Vomero Santos drama; women and performance; feminism and political, and economic institutions; political early modern English and Spanish literature; gender studies; critical writing economy of art, artists, and cultural institutions; drama; translation studies; performance studies; arts professions and artists’ careers; arts servic- history of the book; material culture Ali Mirsepassi es; arts management and cultural policy; Native contemporary social theory; sociology of re- American culture; comparative religion Leslie Satin ligion; Islam and modernity; Middle Eastern dance and performance; performing and visual societies and cultures; postcolonial studies; Peter Rajsingh arts; choreography; gender and performance; knowledge, citizenship, and geography; critical social and political philosophy; ethics; applied assemblage art; scores and structures for per- globalization ethics particularly pertaining to business; consti- formance; contemporary avant-garde; arts criti- tuitional law and jurisprudence cism, autobiography, and creative nonfiction Sara Murphy comparative studies in 19th- and 20th-century Dianne Ramdeholl Joanna Scutts literature and culture; women’s writing; gender critical theory/critical pedagogy, adult educa- 20th-century literature and cultural history; mod- theory; psychoanalysis; literature and political tion for democratic social change, participatory ernism; war literature; cultural memory studies; theory research urban history; biography, autobiography and memoir; creative non-fiction Vasuki Nesiah Bill Rayner international legal studies; human rights and music composition, improvisation, and perfor- George Shulman humanitarianism; politics of memory and tran- mance; guitar studies; recording technology history of European and American social sitional justice; law, culture and society; law thought including relevant literary works; Ameri- and politics of violence; critical social theory; Mark Read can studies; contemporary political, psychoana- colonialism and postcolonial modernities; femi- documentary film; anti-capitalist struggles; me- lytic, and feminist theory; the Bible in Western nisms; globalization; development policy; juris- dia activism; science fiction film and literature; politics and thought prudence of identity; South Asia history of religions and religious philosophy; American literature Carl Skelton J0sé Perillán art/technology collaborations; socially construc- history of science; physics; writing Helena Ribeiro tive technologies; making science fiction come 19th- and 20th-century American poetry; mod- true Amanda Petrusich ernisms; modernity; democracy studies music and culture writing; criticism, creative Lizzie Skurnick nonfiction; travelogue; the personal essay; sub- Steven Rinehart cultural criticism (fiction, television and film); cultures fiction, nonfiction, and memoir writing; Web essay writing; social media; classic young adult development fiction; publishing trends; intersection between Stacy Pies print and online; blogging; radio commentary; poetry; American and European literature, 17th– Lee Robbins alternate forms of journalism 20th centuries; narrative; psychoanalysis history, mythology, and philosophy of depth psychology; Freud, Jung, and postmodern psycho- Laura Slatkin René Francisco Poitevin analytic thought; Buddhist psychology; literature Greek and Roman antiquity: cultural poetics urbanism; race and ethnicity in the US; grass- and psychoanalysis of early Greece (including literature, myth, re- roots organizing; geographical information ligion); ancient and modern drama and lyric; Andrew Romig Greek philosophy; ancient Near Eastern litera- Millery Polyné late antique, medieval, and Renaissance cultural ture; cultural and gender studies of antiquity 19th and 20th century African American and studies; comparative Latin and vernacular litera- Caribbean Intellectual History; Haitian history; ture; history of emotion, gender and sexuality, Judith Sloan U.S. foreign policy in Caribbean; jazz; hip hop spirituality, visual arts; historical and literary theatre; solo performance; oral history; humor aesthetic; race and sports; film and propaganda theory and social satire; immigration and the changing systems (GIS) face of America; documentary arts: radio and Barnaby Ruhe multimedia, digital art on the web; community A. Lavelle Porter visual art; art criticism; art history; art and projects; trauma studies; dialogue across race, 19th and 20th century African-American litera- anthropology; art and psychology; shamanism; ethnicity, class and gender ture; 20th century American and British aca- history of warfare and revolution demic fiction; the literature and history of New Suzanne Snider York; gender and sexuality Marcella Runell Hall narrative nonfiction; oral history; communes; social justice education; critical pedagogy; Hip- ethnography; audio documentary; collaboration Kathryn Posin Hop culture; arts/activism; race/ethnicity in the dance and choreography; theater ; dance fusion US; grassroots organizing; social movements Chris Spain forms; digital media; performance technique, creative writing; film body placement

56 fall f a l l 2012 f a c u l t y

Matthew Stanley Christopher Trogan Susan Weisser history of science and technology; science and aesthetics; ethics; 20th-century German and 19th-century British novel; autobiography; wom- religion; physics and astronomy; philosophy American literature/culture; history of philoso- en and romantic love in literature; women and of science; history and philosophy of religion, phy; philosophy of music; philosophy of law sexuality; feminism mind and consciousness; science education; peace and war Aaron Tugendhaft e. Frances White history of religions; philosophy of religion; politi- history of Africa and its diaspora; history of Ben Steinfeld cal philosophy; ancient near eastern studies; gender and sexuality; critical race theory acting, directing, theatre history, music, Shake- ancient Greek literature speare, 20th-century American drama, and Laurie Woodard musical theatre Lara Vapnyar African American performance, literature, his- fiction writing; memoir writing; contemporary tory, and politics; race, gender, sexuality; identity Paul Thaler immigrant novel; Russian literature formation and representation; the politics of media technology and culture; First Amendment performance and media law; propaganda; history of mass Vasu Varadhan media; media ethics media, globalization, and cultural identity; inter- Greg Wyatt national communications; women in developing sculpture studio studies; craftsmanship and its Joseph Thometz countries; expository writing relationship to mastery, creativity and three-di- comparative philosophy of religions; Christianity mensional design theory; historical artistic influ- with emphasis on its mystical traditions; South Matthew Vernon ences upon public art monuments; art history and East Asian religious and philosophical tradi- vernacular literatures; migration narratives; and philosophy tions, with emphasis on Mahayana Buddhism; trans-historical themes; language and politics; ancient, modern, and contemporary epistemol- medieval literature; nineteenth century African- Carol Zoref ogy; theories and methods in cross-cultural and American literature; graphic novels; interracial- fiction and essay writing; 19th-, 20th-, and 21st- comparative religious studies ity; genealogy; narrative essays century literature; photography and other visual narratives Selma Thompson Eugene Vydrin screenwriting; playwriting; adaptation; script 20th-century poetry and poetics; modernism analysis and development; business issues for and the avant-garde; 20th-century art history, writers; cinema studies; New York City culture criticism, and theory; art historiography; film history and theory; legacies of Romanticism Yevgeniya Traps 19th- and 20th-century literature; literary and cultural theory; aesthetic theories; literature and psychology

2012 57 f o u n d a t i o n requirement

As students plan their schedule, they should keep in mind the foundation requirement, which is comprised of two areas: the liberal arts foundation and the historical and cultural foundation. The liberal arts foundation must be distributed as follows: 8 units in the humanities; 8 units in the social sciences; and 4 units in either mathematics or science. The historical and cultural foundation must be distributed as follows: 4 units in the pre-modern period, 4 units in the early modern period, and 4 units in global cultures. To fulfill this requirement, students may take courses in several schools, departments, and programs of the University, as well as in Gallatin. Below is a list of Gallatin interdisciplinary seminars being offered this fall that may be counted toward the foundation requirement. On the next page is a list of NYU departments and courses that satisfy an area of the liberal arts foundation. For more informatin about this requirement and to see the list of CAS courses and departments that satisfy the historical and cultural foundation, please visit Gallatin's Web site.

GALLATIN COURSEs that fulfill the liberal arts foundation

Humanities IDSEM-UG 1617 Philosophy of Religion IDSEM-UG 1552 Sociology of Religion IDSEM-UG 1618 Media and Fashion IDSEM-UG 1555 Imagining India IDSEM-UG 1061 Literary Forms IDSEM-UG 1651 From Memory to Myth IDSEM-UG 1586 Consumerism IDSEM-UG 1122 Discourses of Love IDSEM-UG 1699 Feeling, in Theory IDSEM-UG 1587 Who Owns Culture? IDSEM-UG 1197 Narratives of African IDSEM-UG 1700 Becoming Global? IDSEM-UG 1592 American Narratives I IDSEM-UG 1202 Tragic Visions IDSEM-UG 1704 The Weary Blues IDSEM-UG 1643 Law and Legal Thought IDSEM-UG 1215 Narrative Investigations I IDSEM-UG 1705 Antigone(s) IDSEM-UG 1648 Environment & Development IDSEM-UG 1216 Doing Things with Words IDSEM-UG 1706 The Origins of Language IDSEM-UG 1684 Indigenous Culture IDSEM-UG 1314 Literary & Cultural Theory IDSEM-UG 1709 Global Surrealism IDSEM-UG 1698 The Social Contract IDSEM-UG 1328 Jung IDSEM-UG 1711 Politics, Writing & Nobel IDSEM-UG 1710 Sex and the State IDSEM-UG 1388 Thinking About Seeing IDSEM-UG 1713 From Blackface IDSEM-UG 1712 Empire, Race and Politics IDSEM-UG 1417 Politics and the Gods IDSEM-UG 1714 What is Critique? IDSEM-UG 1426 Boundary Crossings IDSEM-UG 1454 The Iliad and Its Legacies Science IDSEM-UG 1468 Psychoanalysis & Visual Social Science IDSEM-UG 1156 The Darwinian Revolution IDSEM-UG 1482 Consuming the Caribbean IDSEM-UG 1144 Free Speech & Democracy IDSEM-UG 1207 Origins of the Atomic Age IDSEM-UG 1503 American Poetics IDSEM-UG 1193 Culture / Communication IDSEM-UG 1311 Mad Science/Mad Pride IDSEM-UG 1504 Guilty Subjects IDSEM-UG 1300 Militaries & Militarization IDSEM-UG 1519 Biology and Society IDSEM-UG 1523 Feminism, Empire IDSEM-UG 1381 Creative Democracy IDSEM-UG 1566 History of Environmental IDSEM-UG 1558 The Travel Habit IDSEM-UG 1394 Latinos & Politics of Race IDSEM-UG 1652 Science and Culture IDSEM-UG 1603 Modern Poetry IDSEM-UG 1527 Finance Social Theorists IDSEM-UG 1609 Dante's World IDSEM-UG 1545 On Freud's Couch

GALLATIN COURSEs that fulfill the historical & cultural foundation premodern early modern IDSEM-UG 1503 American Poetics IDSEM-UG 1523 Feminism, Empire IDSEM-UG 1122 Discourses of Love IDSEM-UG 1122 Discourses of Love IDSEM-UG 1552 Sociology of Religion IDSEM-UG 1197 Narratives of African IDSEM-UG 1202 Tragic Visions IDSEM-UG 1555 Imagining India IDSEM-UG 1202 Tragic Visions IDSEM-UG 1215 Narrative Investigations I IDSEM-UG 1586 Consumerism IDSEM-UG 1417 Politics and the Gods IDSEM-UG 1698 The Social Contract IDSEM-UG 1648 Environment & Development IDSEM-UG 1454 The Iliad and Its Legacies IDSEM-UG 1700 Becoming Global? IDSEM-UG 1684 Indigenous Culture IDSEM-UG 1609 Dante's World IDSEM-UG 1709 Global Surrealism IDSEM-UG 1651 From Memory to Myth GLobal cultures IDSEM-UG 1711 Politics, Writing & Nobel IDSEM-UG 1704 The Weary Blues IDSEM-UG 1197 Narratives of African IDSEM-UG 1705 Antigone(s) IDSEM-UG 1216 Doing Things with Words IDSEM-UG 1708 Visions of the Good Life IDSEM-UG 1482 Consuming the Caribbean

58 fall f o u n d a t i o n requirement

NYU depts & courses that fulfill the liberal arts foundation

Humanities Politics, POL-UA (all courses with the exception of Quantitative Methods in Political Science, POL-UA 800, which fulfills the CAS Departments and Programs math/science requirement) Africana Studies, SCA-UA 101-199 Psychology, PSYCH-UA (all courses with the exception of Statistical Reasoning for the Behavioral Sciences, PSYCH-UA 9, and American Studies, SCA-UA 201-299 Statistics for the Behavioral Sciences, PSYCH-UA 10, both of Art History, ARTH-UA which fulfill the math/science requirement) Asian/Pacific/American Studies, SCA-UA 301-399 Sociology, SOC-UA Classics, CLASS-UA Morse Academic Plan, MAP-UA 600–699 Comparative Literature, COLIT-UA Dramatic Literature, DRLIT-UA CAS Course (in addition to the East Asian Studies, EAST-UA departments listed above) English, ENGL-UA Theories and Methods in the Study of Religion, RELST-UA 1 European & Mediterranean Studies, EURO-UA Steinhardt Courses French, FREN-UA Art and City: A Sociological Perspective, LIBAR-UE 201 German, GERM-UA Power, Resistance Identity: American Social Movements, LIBAR-UE 202 Hebrew Language and Literature, HBRJD-UA Interdisciplinary Perspectives on the New Immigration, LIBAR-UE 531 Hellenic Studies, HEL-UA Culture Wars in America, LIBAR-UE 551 History, HIST-UA Education and the American Dream, LIBAR-UE 552 Irish Studies, IRISH-UA History of the Professions in the United States, LIBAR-UE 553 Italian, ITAL-UA Introduction to Education, LIBAR-UE 554 Medieval & Renaissance Studies, MEDI-UA Introduction to Media Studies , LIBAR-UE 591, MCC-UE 1 Middle Eastern & Islamic Studies, MEIS-UA History of Communication , LIBAR-UE 592, MCC-UE 5 Music, MUSIC-UA Introduction to Human Communications & Culture, LIBAR-UE 593 Philosophy, PHIL-UA Survery of Developmental Psychology, LIBAR-UE 631 Religious Studies, RELST-UA (all courses with the exception of Introduction to Personality Theories, LIBAR-UE 632 Theories and Methods in the Study of Religion, RELST-UA 1, Developmental Psychology Across the Lifespan, LIBAR-UE 633 which fulfills the social science requirement) Russian and Slavic Studies, RUSSN-UA Spanish and Portuguese Language and Literature, SPAN-UA MATH OR SCIENCE Morse Academic Plan, MAP-UA 400–599, 700-799 CAS Departments and Programs Biology, BIOL-UA Social Science Chemistry, CHEM-UA CAS Departments and Programs Computer Science, CSCI-UA Environmental Studies, ENVST-UA Animal Studies, ANST-UA Mathematics, MATH-UA Anthropology, ANTH-UA (all courses with the exception of Human Evolution, ANTH-UA 2, which fulfills the math/science Neural Science, NEURL-UA requirement) Physics, PHYS-UA Child/Adolescent Mental Health, CAMHS-UA Morse Academic Plan, MAP-UA 100–399 Economics, ECON-UA (all courses with the exception of Statistics, ECON 18, which fulfills the math/science requirement) CAS Courses (in addition to the Gender and Sexuality Studies, SCA 401-499 departments listed above) International Relations, INTRL-UA Human Evolution, ANTH-UA 2 Journalism, JOUR-UA Statistics, ECON 18 Law and Society, LWSOC-UA Quantitative Methods in Political Science, POL-UA 800 Linguistics, LING-UA Statistical Reasoning for the Behavioral Sciences, PSYCH-UA 9 Metropolitan Studies, SCA-UA 601-699 Statistics for the Behavioral Sciences, PSYCH-UA 10

NYU depts & courses that fulfill the historical & cultural foundation

Please visit Gallatin's Web site: http://www.gallatin.nyu.edu/academics/undergraduate/requirements/historical-cultural-foundation

2012 59 k e y c o n t a c t s

Admissions, Undergraduate, Jeffrey S. Gould Welcome Center, 50 West 4th Street (at the southeast corner of Washington Square Park), (212) 998-4500, http://admissions.nyu.edu/

GALLATIN SCHOOL

1 Washington Place, New York, NY, 10003, (212) 998-7370, www.nyu.edu/gallatin/

Academic Advising, 1 Washington Place, 5th Floor, (212) 998-7320, [email protected] The Office of Academic Advising coordinates all aspects of advising at Gallatin. Students at Gallatin meet regularly with their primary faculty advisers, who are assigned based on their areas of study. In addition, Gallatin students also work closely with class advisers, who work with cohorts of students by holding office hours, liaising with other offices around the university, and hosting workshops on academic policies and opportunities. Students are encouraged to visit the Office of Academic Advising and speak with an adviser about any academic questions or concerns.

Deans' Office, 1 Washington Place, 8th Floor, (212) 998-7330 The Office of the Dean is charged with the overall leadership of the School, from admissions to academic offerings to alumni relations. Students are encouraged to meet with the deans by appointment.

Faculty Services, 1 Washington Place, 4th Floor, [email protected] Gallatin’s Office of Faculty Services provides administrative support to faculty, schedules courses and publishes the course catalogue. Students may contact Faculty Services to request syllabi and faculty contact information, or with questions about course offerings.

Global Programs, (212) 998-7371 [email protected] The Office of Global Programs coordinates Gallatin’s international endeavors. These include helping students plan semesters abroad at one of NYU’s global campuses; administering and helping students apply to Gallatin’s Summer and Winter intersession travel courses; planning and coordinating travel for Gallatin’s scholars groups; and serving as a resource for all Gallatin students abroad, regardless of circumstance.

Student Affairs, 1 Washington Place, 5th Floor, (212) 998-7380 [email protected] The Office of Student Affairs is dedicated to supporting students who are experiencing academic or personal difficulties. The office works to connect students with vital support services throughout Gallatin, NYU and beyond. Students are encouraged to contact Student Affairs when considering a leave of absence.

Student Life, 1 Washington Place, 5th Floor, (212) 992-9823 [email protected] The Office of Student Affairs enhances student life and community. This entails fostering student-to-student and student-to-faculty interaction through club activities and school-wide events; working with student leaders in student government organizations and honor societies. In addition, the office coordinates major events at Gallatin, including: Orientation, Convocation, Black History Month, the Albert Gallatin Lectures, the Gallatin Arts Festival and Graduation.

Student Services, 1 Washington Place, 8th Floor, (212) 998-7378, [email protected] Gallatin’s Office of Student Services provides administrative support to students by liaising with the University’s central offices of the Registrar, Bursar, and Financial Aid. Students can contact Student Services for help with the following: registration assistance (class permission numbers, special permission to register, registration blocks, waitlisting); financial inquiries (e-billing, tuition payment, tuition insurance, University refund policy, financial aid); and inquiries about grades, minors, the IAPC, NetID, NYUHome, Albert, and NYU email.

60 fall

6:20-9:00 6:20-9:00

6:20-7:35 or 6:20-7:35

4:55-6:10

3:30 -4:45 3:30

2:00-3:15

12:30-1:45

11:00-12:15

9:30 -10:45 9:30

8:00 -9:15 8:00

onday M T uesday Wednesday hursday T

Friday Schedule Planner Schedule 5L 5L

FALL 2012 Undergraduate Course Offerings

NYU Gallatin 1 Washington Place New York, NY 10003 212.998.7370