Undergraduate Course Offerings 2018-2019 CALENDAR

FALL 2018

Saturday, September 1 Opening Day

New students arrive

Monday, September 3 Returning students arrive

Monday, October 22 and Tuesday, October Study Days October 23

Wednesday, November 21 - Sunday, Thanksgiving break (begins after last November 25 academic appointment on Tuesday)

Friday, December 21 Last day of classes

Saturday, December 22 Residence halls close at 10 a.m.

SPRING 2019

Sunday, January 20 Students return

Saturday, March 16 - Sunday, March Spring break 31

Friday, May 17 Last day of classes

Sunday, May 19 Residence halls close for first-years, sophomores, and juniors at 5 p.m.

Friday, May 24 Commencement

Residence halls close for seniors at 8 p.m. The Curriculum ...... 3 Japanese ...... 80 Africana Studies ...... 3 Latin ...... 81 Anthropology ...... 3 Latin American and Latino/a Studies . . 82 Architecture and Design Studies ...... 8 Lesbian, Gay, Bisexual, and Transgender Art History ...... 9 Studies ...... 83 Asian Studies ...... 14 Literature ...... 84 Biology ...... 18 Mathematics ...... 95 Chemistry ...... 22 Middle Eastern and Islamic Studies . . . . 98 Chinese ...... 25 Modern and Classical Languages and Classics ...... 26 Literatures ...... 99 Cognitive and Brain Science ...... 26 Music ...... 100 Computer Science ...... 27 Philosophy ...... 111 Dance ...... 30 Physics ...... 114 Development Studies ...... 37 Political Economy ...... 116 Economics ...... 37 Politics ...... 117 Environmental Studies ...... 41 Psychology ...... 122 Ethnic and Diasporic Studies ...... 43 Public Policy ...... 135 Film History ...... 44 Religion ...... 137 Filmmaking and Moving Image Arts . . . . 47 Russian ...... 142 French ...... 56 Science and Mathematics ...... 143 Games, Interactive Art, and New Genres 59 Pre-Health Program Gender and Sexuality Studies ...... 60 Social Science ...... 144 Geography ...... 61 Sociology ...... 144 German ...... 63 Spanish ...... 148 Greek (Ancient) ...... 65 Theatre ...... 150 Health, Science, and Society ...... 66 Urban Studies ...... 162 History ...... 67 Visual and Studio Arts ...... 163 International Studies ...... 78 Writing ...... 172 Italian ...... 79 Faculty ...... 185 Sarah Lawrence College is accredited by the Middle Modern Language and Literature (1101) BA States Association and the New York State Music (1004) BA Education Department. Philosophy (1509) BA Politics (2207) BA The following programs are registered by the New Premedical (4901) BA York State Education Department* for the degrees Psychology (2001) BA listed (registration number in parentheses). Religion (1510) BA Enrollment in other than registered or otherwise Sociology (2208) BA approved programs may jeopardize a student’s Theatre (1007) BA eligibility for certain student-aid awards. Women’s Studies (2299) BA Writing (1507) BA Program Degree Awarded Art of Teaching (0802) MSEd Liberal Arts (4901) BA Child Development (2009) MA Anthropology (2202) BA Dance (1008) MFA Art History (1003) BA Dance Movement Therapy (1099) MS Asian Studies (0301) BA Health Advocacy (4901) MA Biology (0401) BA Human Genetics (0422) MS Chemistry (1905) BA Theatre (1007) MFA Classics (1504) BA Women’s History (2299) MA Dance (1008) BA Writing (1507) MFA Economics (2204) BA Film History and * New York State Education Department Filmmaking (1010) BA Office of Higher Education and the Professions French (1102) BA Cultural Education Center, Room SB28 History (2205) BA Albany, New York 12230 Literature (1599) BA (518) 474-5851 Mathematics (1701) BA THE CURRICULUM 3

Understanding Experience: Phenomenological THE CURRICULUM Approaches in Anthropology (p. 5), Robert R. Desjarlais Anthropology The Curriculum of the College as planned for Making the World Go Round: Children as Cogs in the 2018-2019 is described in the following pages. All Wheels of Empire (p. 6), Mary A. Porter courses are planned as full-year courses, except as Anthropology otherwise indicated. Where possible, seminar Political Economy of Women (p. 38), Kim Christensen descriptions include examples of areas of study in Economics which a student could concentrate for the Food, Agriculture, Environment, and conference portion of the course. In a seminar Development (p. 61), Joshua Muldavin course, each student not only pursues the main Geography course material but also selects a related topic for Introduction to Development Studies: The Political concentrated study, often resulting in a major paper. Ecology of Development (p. 62), Joshua In this way, each seminar becomes both a shared Muldavin Geography and an individual experience. The Blues Ethos and Jazz Aesthetics: A History of African Americans in the City (p. 73), Komozi Woodard History The Price of Citizenship: A History of Poverty and AFRICANA STUDIES Public Policy in the United States (p. 68), Komozi Woodard History Africana Studies at Sarah Lawrence College embrace Body Politics: A Cultural History of the United a number of scholarly disciplines and subjects, States (p. 75), Lyde Cullen Sizer History including anthropology, architecture, art history, First-Year Studies: Imperialism, Resistance, dance, economics, film, filmmaking, history, Islamic Development, Intervention: African States in studies, law, literature, philosophy, politics, the International System (p. 118), Elke Zuern psychology, religion, sociology, theatre, and writing. Politics Students examine the experience of Africans and of Advanced Research Seminar (p. 133), Kim Ferguson people of African descent in the diaspora, including (Kim Johnson) , Elizabeth Johnston , Linwood J. those from Latin America, the Caribbean, North Lewis Psychology America, and beyond. Study includes the important Children’s Health in a Multicultural Context (p. 132), cultural, economic, technological, political, and Linwood J. Lewis Psychology social intellectual interplay and exchanges of these Emerging Adulthood (p. 128), Linwood J. Lewis peoples as they help make our world. Psychology Students will explore the literature of Africans First-Year Studies: The New Narrative and peoples of African descent in various languages, Photography (p. 165), Joel Sternfeld Visual and including Spanish, Portuguese, French, and English. Studio Arts The dynamics of immigration and community The Ideas of Photography (p. 170), Joel Sternfeld formation are vital in this field. Students will Visual and Studio Arts examine the art and architecture of Africa and the diaspora, along with their history, societies, and cultures; their economy and politics; the impact of Islam and the Middle East; the processes of slavery; ANTHROPOLOGY the slave trade and colonialism; and postcolonial The study of anthropology traditionally covers four literature in Africa, Latin America, and the fields: sociocultural anthropology, linguistic Caribbean. The program also includes creative work anthropology, biological anthropology, and in filmmaking, theatre, and writing. archaeology. At Sarah Lawrence College, we Courses offered in related disciplines this year are concentrate on sociocultural and linguistic listed below. Full descriptions of the courses may be anthropology. found under the appropriate disciplines. Behind almost every aspect of our lives is a cultural realm, a shared construction that shapes Specters of the Subject: Hauntologies of Ghosts, assumptions and determines much of how we Phantasms, and Imaginings in Contemporary perceive and relate to the world. Sociocultural Life (p. 7), Robert R. Desjarlais Anthropology anthropology is the study of that realm—its extent and its effects. As students learn to approach with an anthropological eye what they formerly might 4 Anthropology have taken for granted, they gain insight into how possessions. Aside from achieving a deeper social forces govern the ways in which we relate to understanding of how our life is shaped by our ourselves and to each other: how we use words, how relation with things and language, students will also we define ourselves and others, how we make sense be introduced to the craft of ethnography as a of our bodies, even how we feel emotions. Through method of research and a genre of writing. At the examining the writings of anthropologists, viewing beginning of the fall semester, each participant will ethnographic films, and discussing these and other be assigned two objects and will be asked to explore materials in seminar and conference sessions, them—as an individual item or as a class of students develop a comprehensive and objects—through a series of short essays and multipatterned sense of the cultural dimensions of ethnographic tasks, which may or may not provide human lives. By studying the underpinnings of the material for a larger conference paper. Contrary language, symbolic practices, race, gender, sexuality, to the classic approach in which the ethnographer policy and advocacy, medical systems, cities, engages the description of a specific cultural modernity, and/or social organization across a range context through the narratives, beliefs, experiences, of Western and non-Western settings, students come and actions of human agents, these thing-centered to better understand how meaning is made. With essays will provide mini-ethnographic sketches of seminar dynamics and content characteristic of how objects produce cultural meanings and social graduate-level work, Sarah Lawrence’s anthropology relations. During biweekly group conference courses take students in often unexpected and meetings, held throughout the fall semester, challenging directions. students will compare notes on their ongoing thing- ethnographies, share their findings, and discuss First-Year Studies: How Things their theoretical concerns and methodological Talk: The Linguistic Materialities problems. Students’ thing-ethnographies will also be of Late Capitalism presented periodically to the entire class during dedicated workshops. The format of these short Aurora Donzelli presentations will be at the discretion of the Open, FYS—Year participant, but students are encouraged to make One of the effects of advanced capitalism is to use of digital voice recording, photography, and video complicate the distinction between words and to illustrate the objects and their contexts of use. objects and between humans and things. Within the radicalization of market ideologies characterizing our contemporary moment, what counts as Paris, City of Light and Violence inalienable spiritual values as opposed to alienable Robert R. Desjarlais material entities? Is kindness a virtuous demeanor Open, Seminar—Fall or a form of immaterial affective labor that requires So they had begun to walk about in a fabulous Paris, the performance of specific acts of speech? What letting themselves be guided by the nighttime signs, should and what should not have a price? Which is following routes born of a clochard phrase…. —Julio the original, and which is the copy? Is a brand a Cortázar, Hopscotch symbol that stands for a product or a product in itself? How can we distinguish medium from For centuries now, the city of Paris, France, has held message? This course provides an introduction to an actual and imaginary intensity in the lives of anthropology’s theories and methods through an many. In this seminar in cultural anthropology, we investigation of how words and things mediate and will explore a number of themes and forces that enable human experience, creating the complex have shaped the cultural and political contexts of semiotic landscapes that we inhabit. The aim is to life in Paris through the 19th and 20th centuries and problematize the conventional conceptualizations of on into the 21st—from great works of art to language and materiality and show how, within a transformations in urban design to the politics of regime of advanced capitalism, life and labor unfold colonialism, migration, racism, marginalization, and through complex interplays of semiotic codes, police surveillance, as well as critical events of state affective registers, and material objects. Throughout and collective violence. In walking (conceptually) the year, students will be introduced to a series of about a Paris at once fabulous and haunted, we will theoretical and ethnographic readings aimed at come to know various signs of being and power in illustrating the blurred boundaries between words this renowned city. In attending to key events in the and things, subjects and objects, signs and recent history of Paris—in 1942, 1961, 1968, 1995, referents, artworks and artifacts, gifts and and 2015, for instance—we will work toward commodities, and alienable and inalienable developing a comprehensive sense of the many THE CURRICULUM 5 social, cultural, and political dimensions of urban “lifeworlds” in order to understand—and convey to experience in la ville lumière, the “city of light,” in others—the nuances and underpinnings of such both its central arrondissements and its peripheral worlds in terms that more orthodox social or banlieues. Along the way, we will consider a number symbolic analyses cannot achieve. In this context, of important literary writings (Hugo, Balzac, phenomenology entails an analytic method that Baudelaire, Breton, Modiano, Cortázar, Perec, Sebbar, works to understand and describe in words and Bouraoui), films (Godard, Truffaut, Marker, phenomena as they appear to the consciousnesses Varda, Tati, Kassovitz, Haneke, and Sciamma), and of certain peoples. Phenomenology, put simply, is the scholarship (Benjamin, Dubord, Harvey, Kofman, study of experience. The phenomena most often in Fanon, Barthes, Foucault, Derrida, and Latour). question for anthropologists include the workings of Students will be encouraged to undertake time, perception, emotions, selfhood, language, conference work on artists, writers, and thinkers bodies, suffering, and morality as they take form in associated with Paris or to develop their own particular lives within the context of any number of anthropological reflections on arisP or another social, linguistic, and political forces. In this course, intensive city known to them. we will explore phenomenological approaches in anthropology by reading and discussing some of the Indigenous Mobilities most significant efforts along these lines. Each student will also try her or his hand at developing a Deanna Barenboim phenomenological account of a specific subjective Open, Seminar—Spring or intersubjective lifeworld through a combination of Indigeneity, by definition, allsc into play complex interviewing, participant observation research, and relations to place. In this course, we will address ethnographic writing. contemporary indigenous experience, politics, and imaginaries in the Americas by exploring questions of place as well as of movement. How might our Faking Families: How We Make notions of indigenous peoples and cultures shift if Kinship we consider mobility as central to indigenous life? Mary A. Porter How are connections to ancestral territories and Open, Seminar—Spring homelands implicated in, or altered by, the In her study of transnational adoptees, Eleana Kim increasingly globalized world we inhabit? Looking at noted the profound differences between discourses indigeneity on the move, we will invoke notions of about the immigration of Chinese brides to the borderlands and boundaries and explore forms of United States and those describing the arrival of geographic, social, and virtual mobilities and their adopted Chinese baby girls: the former with intersections with race, legal identity, and claims to suspicion and the latter with joy. Two ways that space and place. We will look at the new forms of families form are by bringing in spouses and by mobility evidenced by recent indigenous having children. We tend to assume that family- transnational migration, as well as the histories of building involves deeply personal, intimate, and even chosen and forced movement, displacement, and “natural” acts; but in actual practice, the pragmatics dispossession that continually shape the Native of forming (and disbanding) families are much more American and indigenous experience. complex. There are many instances where biological pregnancy is not possible or not chosen, and there Understanding Experience: are biological parents who are unable to rear their Phenomenological Approaches in offspring. Social rules govern the acceptance or rejection of children in particular social groups, Anthropology depending on factors such as the marital status of Robert R. Desjarlais their parents or the enactment of appropriate Open, Seminar—Spring rituals. Western notions of marriage prioritize How does a chronic illness affect a person’s compatibility between two individuals who choose orientation to the everyday? What are the social and each other based on love; but in many parts of the political forces that underpin life in a homeless world, selecting a suitable spouse and contracting a shelter? What is the experiential world of a deaf marriage is the business of entire kin networks. person, a musician, a refugee, or a child at play? In There is great variability, too, in what constitutes an effort to answer these and like-minded questions, “suitable.” To marry a close relative or someone of anthropologists in recent years have become the same gender may be deemed unnaturally close increasingly interested in developing in some societies, but marriage across a great phenomenological accounts of particular difference such as age, race, nation, culture or class 6 Anthropology can also be problematic. And beyond the intimacies white sons and daughters of European settler of couples and the interests of extended kin are the colonists in Africa and Southeast Asia, we will look at interests of the nation state. This seminar, then, the contrary things that were said and done about examines the makings and meanings of kinship mixed-race children (and their mothers) at different connections of parent and spouse at multiple levels, historical and political moments of empire. We will from small communities to global movements. Our learn, too, about the deployment of “orphans” in the topics will include the adoption and fostering of service of empire. In the metropole, particularly children, both locally and transnationally, in Peru, British cities, orphan boys were funneled into the Chile, Spain, Italy, Ghana, the United States, China, military and merchant navy, while children of both and Korea. We will look at technologies of biological sexes were shipped across the globe to boost white reproduction, including the global movement of settler populations, provide free labor, and relieve genetic material in the business of transnational English poorhouses of the responsibility of taking gestational surrogacy in India. We will look at the care of them. The ancestors of many contemporary ways in which marriages are contracted in a variety citizens of Canada, Australia, and South Africa were of social and cultural settings, including China and exported as children from metropolitan orphanages. Korea, and the ways in which they are configured by In our intellectual explorations, we will deploy race, gender, and citizenship. Our questions will approaches from sex-gender studies, postcolonial include: Who are “real” kin? Who can a person studies, and critical race theory. Questions that we marry? Which children are “legitimate”? Why do we will explore include: Why did settler authorities in hear so little about birth mothers? What is the Australia kidnap mixed-race indigenous children and experience of families with transgender parents or put them in boarding schools, when such children in children? What is the compulsion to find genetically other colonies were expected to stay with their local connected “kin”? How many mothers can a person mothers out of sight of the settlers? How did have? How is marriage connected to labor European ideas about climate and race frame the migration? Why are the people who care for children ways in which settler children were nursed in the in foster care called “parents”? The materials for Dutch East Indies? How did concepts of childhood this class include literature, scholarly articles, and parental rights over children vary historically, ethnographic accounts, historical documents, and socioeconomically, and geographically? How did film. metropolitan discourses about race, class, and evolution frame the treatment of indigent children Making the World Go Round: at home and abroad? The materials for this class include literature, scholarly articles, ethnographic Children as Cogs in the Wheels of accounts, historical documents, and film. There will Empire be much discussion. Mary A. Porter Sophomore and above, Seminar—Spring Spaces of Exclusion, Places of At the close of the 1920s, a Miss Wilson presented a paper at a London conference, addressing “The Belonging Education of European Children in Contact With Deanna Barenboim Primitive Races.” In her talk, she described the life of Intermediate, Seminar—Fall rural white Kenyan settler children growing up with How do people construct meaningful places in a African playmates and expressed her concerns about favela in Brazil or in the hill farms of Scotland? What the morally deleterious effects of such play on these should we make of “place-less” spaces or states future imperial leaders. This particular case such as those instantiated through technologies like illustrates discourse about the role of privileged social media or Hindu yogic and meditative practice? white children in imperial regimes; but children of How should we understand notions of displacement, diverse social classes, races, and nationalities across transborder identifications, or longings for the globe were all implicated in processes of homeland, as they play out for Sierra Leonean imperial expansion and European settler colonization Muslims in Washington, DC, Ecuadorians in Italy, or over (at least) the past three centuries. What was indigenous Latin American migrants in California and believed about children, done to children, and Wyoming? This course explores issues of identity and required of children was central to the political and difference, locality and community, in the context of economic success of empire. In this seminar, we will transnational mobility and the globalized flow of examine a series of cases in order to understand the people, ideas, values, and things. Engaging with diverse roles, both intentional and unintentional, of recent scholarly work in the fields of anthropology, children in colonial processes. In addition to the critical race studies, critical indigenous studies, THE CURRICULUM 7 sociology, geography, architecture, and literature, we Language Matters: Exploring the will seek to decode sociospatial arrangements to Cultural Grammars of Capitalism better understand structures and processes of exclusion and marginalization. At the same time, we Aurora Donzelli will observe how people’s navigations through space Advanced, Seminar—Year and their efforts at place-making create sites of A long-standing tradition within Western thought collective identity, resistance, belonging, and has conceptualized language as a system of signs recognition. Posed in a wide range of ethnographic that are clearly separate from material reality and contexts, our efforts to puzzle through these issues are aimed at enabling the transmission of will require attention to the ways in which space and information. The divide between the intangible place are, for instance, embodied, gendered, realm of language and the material domain of things racialized, and (il)legalized. We will likewise attend has dominated scholarship across several to the politics and ethics of postcolonial scholarship disciplines, leaking into common sense. This on space and place and to the meanings of an yearlong course questions this deeply entrenched engaged anthropology that leans toward social divide and suggests that, in order to understand the justice. contemporary radicalization of market ideologies, we need to bring into the same analytical field the linguistic and the material. On the one hand, the Specters of the Subject: course will dialogue with the emerging cross- Hauntologies of Ghosts, disciplinary interest in material culture studies to Phantasms, and Imaginings in invert the long-standing exploration of how people Contemporary Life make things and generate a new reflection on how things make people and how inanimate objects may, Robert R. Desjarlais in fact, be endowed with a form of agency. On the Advanced, Seminar—Year other hand, the course will engage the role of “The future belongs to the ghosts,” remarked the language—both as a symbolic code and as a philosopher Jacques Derrida in 1996. As his material tool—in the spreading of late/neoliberal interlocutor Bernard Stiegler phrases the main idea capitalism. While most analyses of the world’s behind this statement, “Modern technology, contrary current order tend to focus on political and to appearances, increases tenfold the power of economic aspects, this course explores how certain ghosts.” With the advent of the Internet, various ways of speaking and using language may partake in forms of social media, and the ubiquity of filmic producing capitalist forms of reasoning and images in our lives, Derrida's observations have practical conduct. Students will learn, for example, proven to be quite prophetic, such that they call for a how to look at graphic artifacts (e.g., street signage, new field of study—one that requires less an wall texts, typefaces, letterforms, logos, and other ontology of being and the real and more a types of graphic media) as socially and politically “hauntology” (to invoke Derrida's punish term) of meaningful semiotic technologies that shape our the spectral, the virtual, the phantasmic, the contemporary capitalist landscapes. Students also imaginary, and the recurrent revenant. In this will learn how to analyze new protocols of discourse seminar, we consider ways in which the past and that characterize our everyday lives: the customer present are haunted by ghosts. Topics to be covered satisfaction survey, the service encounter, the include: specters and hauntings, figures and checklist, the logbook, the flowchart, the electoral apparitions, history and memory, trauma and mission statement, the training session, etc. In spite political crisis, fantasy and imagination, digital of their apparent ordinariness, these discursive interfaces, and visual and acoustical images. We will genres and textual artifacts are key for the be considering a range of films and video, production of the self-improving and self-reflexive photography, literary texts, acoustic reverberations, subjects required by the regimes of moral Internet and social media, and everyday discourses accountability and the forms of market rationality and imaginings. Through these inquiries, we will be that characterize our contemporary moment. While able to further our understanding of the nature of reading ethnographic analyses of specific specters and apparitions in the contemporary world technologies of discourse, students will engage in their many forms and dimensions. Students will be broader questions: How pervasive are neoliberal invited to undertake their own hauntologies and thus structures of practice? To what extent can craft studies of the phenomenal force of specters, neoliberalism be represented as an overarching and hauntings, and the apparitional in particular social coherent global trend generated by the or cultural contexts. homogenizing forces of Late Western Capitalism? Is 8 Architecture and Design Studies our moral and affective experience completely First-Year Studies: Imperialism, Resistance, shaped by the extension of economic rationality to Development, Intervention: African States in all areas of life? the International System (p. 118), Elke Zuern Politics Other courses of interest are listed below. Full State Terror and Terrorism (p. 120), Elke Zuern descriptions of the courses may be found under the Politics appropriate disciplines. First-Year Studies: The Developing Child: Perspectives and Contexts (p. 123), Jan Drucker Christians, Jews, and Muslims and the Arts of Psychology Medieval Spain: Art, Religion, and Personality Development (p. 135), Jan Drucker Identity (p. 12), Jerrilynn Dodds Art History Psychology Masterworks of Art and Architecture of the Western Crossing Borders and Boundaries: The Social Tradition: Part 1 (p. 12), Jerrilynn Dodds Art Psychology of Immigration (p. 126), Gina History Philogene Psychology Masterworks of Art and Architecture of the Western Language Development (p. 133), Barbara Schecter Tradition: Part 2 (p. 12), Jerrilynn Dodds Art Psychology History The Historical Evolution of Psychological Images of India: Text/Photo/Film (p. 16), Sandra Thought (p. 128), Gina Philogene Psychology Robinson Asian Studies Thinking Evil: A Social Psychological Pilgrimage and Tourism: South Asian Exploration (p. 130), Gina Philogene Psychology Practices (p. 17), Sandra Robinson Asian Studies Children’s Health in a Multicultural Context (p. 132), Sacrifice (p. 17), Sandra Robinson Asian Studies Linwood J. Lewis Psychology Writing India: Transnational Narratives (p. 15), Religion, Healing, and Medicine in the United Sandra Robinson Asian Studies States (p. 141), Irene Elizabeth Stroud Religion Political Economy of Women (p. 38), Kim Christensen First-Year Studies: Nations, Borders, and Mobilities: Economics An Introduction to Migration Studies (p. 145), Econometric Analysis: Structural Explorations in the Parthiban Muniandy Sociology Social Sciences (p. 38), Jamee K. Moudud First-Year Studies: Theatre Outreach: Theatre and Economics Community (p. 151), Allen Lang Theatre Resource Economics and Political Ecology (p. 39), Lost and Found: Collage and the Recycled John Casey Nicolarsen Economics Image (p. 171), Gary Burnley Visual and Studio Introduction to Property: Cultural and Environmental Arts Perspectives (p. 42), Charles Zerner First-Year Studies: Forms and Fictions (p. 172), Myra Environmental Studies Goldberg Writing Food, Agriculture, Environment, and Our World, Other Worlds (p. 174), Myra Goldberg Development (p. 61), Joshua Muldavin Writing Geography Eco-Poetry (p. 181), Marie Howe Writing Introduction to Development Studies: The Political Ecology of Development (p. 62), Joshua Muldavin Geography Diversity and Equity in Education: Issues of Gender, ARCHITECTURE AND DESIGN Race, and Class (p. 76), Nadeen M. Thomas STUDIES History 17th-Century British Literature (p. 88), William Architecture and design studies at Sarah Lawrence Shullenberger Literature College is a cross-disciplinary initiative that offers a The Bible and Literature (p. 87), William variety of analytical approaches to the cultural act Shullenberger Literature of constructing environments, buildings, and Translation Studies: Poetics, Politics, Theory, and aesthetic, yet functional, objects. Courses in Practice (p. 91), Bella Brodzki Literature architectural and art history and theory, computer Global Circulations: Art and Pop Music of design, environmental studies, physics, and Asia (p. 101), Niko Higgins Music sculpture allow students to investigate—in both Transformation Sounds! Ethnomusicology and Social course work and conference—a wide range of Change (p. 101), Niko Higgins Music perspectives and issues dealing with all facets of built design. These perspectives include theoretical explorations in history and criticism, formal THE CURRICULUM 9 approaches that engage sociopolitical issues, Landscapes in Translation: Cartographies, Visions, sustainable problem solving, and spatial exploration and Interventions (p. 42), Charles Zerner using both digital and analog design tools. Environmental Studies Courses of study might include structural Introduction to Mechanics (General Physics Without engineering in physics and projects on bridge design Calculus) (p. 115), Alejandro Satz Physics that reflect these structural principles in courses on Community and Civility (p. 121), Samuel Abrams virtual architecture and sculpture; the study of the Politics architecture and politics of sustainability in class Art and Visual Perception (p. 125), Elizabeth and conference work for art and architectural Johnston Psychology history and environmental studies; and sculpture Color (p. 171), Gary Burnley Visual and Studio Arts and art history courses that engage issues of Lost and Found: Collage and the Recycled technology, expression, and transgression in the Image (p. 171), Gary Burnley Visual and Studio uses of the techniques and crafts of construction. Arts When coordinated with participating faculty, 3D Modeling (p. 169), Shamus Clisset Visual and programs of study offer an excellent preparation for Studio Arts further engagement in the fields of architecture Introduction to Digital Imaging (p. 168), Shamus (both theory and practice), in digital and Clisset Visual and Studio Arts environmental design, and in engineering. First-Year Studies: The New Narrative Photography (p. 165), Joel Sternfeld Visual and Courses offered in related disciplines this year are Studio Arts listed below. Full descriptions of the courses may be The Ideas of Photography (p. 170), Joel Sternfeld found under the appropriate disciplines. Visual and Studio Arts First-Year Studies: How Things Talk: The Linguistic Things and Beyond Representation (p. 168), Tishan Materialities of Late Capitalism (p. 4), Aurora Hsu Visual and Studio Arts Donzelli Anthropology Our World, Other Worlds (p. 174), Myra Goldberg Language Matters: Exploring the Cultural Grammars Writing of Capitalism (p. 7), Aurora Donzelli Anthropology Paris, City of Light and Violence (p. 4), Robert R. ART HISTORY Desjarlais Anthropology Specters of the Subject: Hauntologies of Ghosts, The art history curriculum at Sarah Lawrence College Phantasms, and Imaginings in Contemporary covers a broad territory historically, culturally, and Life (p. 7), Robert R. Desjarlais Anthropology methodologically. Students interested in art theory, Understanding Experience: Phenomenological social art history, or material culture have Approaches in Anthropology (p. 5), Robert R. considerable flexibility in designing a program of Desjarlais Anthropology study and in choosing conference projects that link Christians, Jews, and Muslims and the Arts of artistic, literary, historical, social, philosophical, and Medieval Spain: Art, Religion, and other interests. Courses often include field trips ot Identity (p. 12), Jerrilynn Dodds Art History major museums, auction houses, and art galleries in Masterworks of Art and Architecture of the Western New York City and the broader regional area, as well Tradition: Part 1 (p. 12), Jerrilynn Dodds Art as to relevant screenings, performances, and History architectural sites. Many students have extended Masterworks of Art and Architecture of the Western their classroom work in art history through Tradition: Part 2 (p. 12), Jerrilynn Dodds Art internships at museums and galleries, at nonprofit History arts organizations, or with studio artists; through “A Talent for Every Noble Thing”: Art, Architecture in their own studio projects; or through advanced-level Italy, 1300-1600 (p. 11), Joseph C. Forte Art senior thesis work. History Sarah Lawrence students have gone on to Architectures of the Future, 1780 to the graduate programs in art history at Columbia, Johns Present (p. 11), Joseph C. Forte Art History Hopkins, Northwestern, Bard, Williams, Yale, Introduction to Property: Cultural and Environmental University of Chicago, Oxford University, and Perspectives (p. 42), Charles Zerner University of London, among others. Many of their Environmental Studies classmates have pursued museum and curatorial work at organizations such as the Guggenheim Museum, the Metropolitan Museum of Art, and the 10 Art History Art Institute of Chicago; others have entered the art Europe and the Muslim world within a larger context business by working at auction houses such as as the result of geopolitical patterns that long Sotheby’s or by starting their own galleries; and still antedated the emergence of Christianity or Islam. In others have entered professions such as nonprofit the fall, the course will begin with the Greek invasion arts management and advocacy, media production, of the Near East under Alexander as a war of and publishing. retribution for the Persian invasion of Greece more than a century earlier. We will consider how the First-Year Studies: Gods, Heroes, political structure and culture of the multiethnic and Kings: Art and Myth in the Hellenistic Greek kingdoms emerged from the Ancient World wreckage of the Persian Empire and how Rome subsequently built on Hellenistic Greek experience David Castriota and conflict with the Near astE in establishing its Open, FYS—Year empire. We will examine the emergence of In modern terms, myth has come to be commonly Christianity as an example of a Roman or Western understood as the antithesis of history. Whereas response to an originally Eastern religion and, history is taken as a reasoned, factual account of the conversely, the emergence of the Islamic faith and past and how things came to be, myth appears to its new empire as an Eastern challenge to the operate in the realm of fiction or antf asy. Myths may Christianized Roman Empire of Late Antiquity. In the have the claim of venerable tradition, but they are no spring, we will see how this approach affords a very longer accepted as an accurate record of events. The different view of the Crusades and the battle for the ancient world, however, made no such black-and- Holy Land as the outgrowth of longstanding cultural white distinctions. In antiquity, myth was accepted and political interactions or competitions that as early history. Its heroes were real, and their transcend religious faith and doctrine. The course actions were thought to exemplify essential will look at Christian and Muslim cultural relations in paradigms of political order and morality. Spain and then close by examining the rise of the Consequently, this course will apply a different Ottoman Turkish Empire, which originated as a approach in which myth is distinguished from Muslim regime in Eastern Europe and became a history not by a truth test but, rather, by virtue of its major power in Asia only after it had conquered the function as a means of cultural self-representation. remaining symbol of the old Christian Roman Empire, We shall examine the myths of ancient Egypt, Constantinople, in 1453. We will consider primary Mesopotamia, Greece, and Rome—both in their historical and literary sources, as well as major literary form and in various media of visual art. artistic monuments. Throughout, our goal will be to understand the potency of these narratives as vehicles of social or cultural values and as tools of power legitimizing Genealogies of Modern and and justifying closely entwined notions of religious Contemporary Art, 1890 to the and political authority. The course will close by Present considering how, in Late Antiquity, Christian Sarah Hamill narratives and ideologies in the literary and visual Open, Lecture—Year arts developed from the mythic traditions that What was modernism, and how do we describe the preceded them. shift to what is called contemporary art? Beginning with Henri Matisse, the first half of the oursec will East vs. West: Europe, the examine how modernists found a new visual Mediterranean, and Western Asia language to navigate a world ravaged by fascism and From Antiquity to the Modern Age war; altered by industry, technology, and rationalized forms of labor; and tested by shifting national, David Castriota ethnic, and gendered identities. What Open, Lecture—Year representational strategies did artists use to Historically, competition or conflict between the respond to this upheaval? The fall semester serves European or Mediterranean West and the regions of as an introduction to the historical avant-gardes in the Middle East has been seen as a struggle between the United States, Mexico, and Europe—including Christian and Muslim worlds with roots in the era of Fauvism, expressionism, cubism, Dada, surrealism, the Crusades, whose precedent and implications muralism, and abstract expressionism—but it will reach into the present time. While this course will be organized around thematic questions: What is focus extensively on the medieval period, it seeks to abstraction as a turn away from the modernized do so by situating the relations between Christian world? What is the relationship between high art THE CURRICULUM 11 and mass culture? What were the political ambitions trends, social realities, and movements that provide of modern art, and how were they vocalized a context for our understanding of the artists’ and, materially? How were artists working at the margins to a lesser extent, the critics’ creations. Thus, unified speaking back to what they saw to be dominant Italian church designs will be juxtaposed with forms of representation? The second half of the gender-segregated social practice, theories of course examines a sea-change that began in the genius with concepts of handicraft, pagan ideals 1960s, as artists tested modernist categories of with Christian rituals, creative expression with painting and sculpture; challenged relationships religious orthodoxy, and popes with monks, dukes, between high art and mass media; incorporated new financiers, and “humanist” intellectuals. The first technologies such as television and video into their semester will focus on a close reading of texts art; and questioned the hierarchies of art’s surrounding the first polemical “humanist” production, reception, and display through protest, pamphlets about art in early modern activism, and participation. By the end of the ’60s, history—Alberti’s On Painting and On art faced a crisis that affected its production, Architecture—and will include works by Erwin medium, spectatorship, and institutions, leading Panofsky, Ernst Gombrich, and Michael Baxandall. German philosopher Theodor Adorno to note the loss The second semester will engage the development of of art’s self-evidence. Looking closely at the art of the “High” Renaissance and the intellectual and Europe and the United States and at exchanges with aesthetic debates surrounding Leonardo da Vinci, Japan and Brazil, the second half of the course Michelangelo, and Raphael as philosophers, explores a moment of radical artistic critique in naturalists, geniuses, models, and marginalized which artists transformed traditional categories of outcasts. Class papers will deal with developing a artistic production and challenged social, political, vocabulary for compositional analysis, critical issues and cultural norms. In the last 20 years, all of this in Italian intellectual and social history (particularly, shifted with the return to traditional categories of gender studies), and varied interpretive strategies painting and sculpture and the rise of the global art applied to works of visual art and culture. market. We will conclude with a look at Conference projects may involve selected topics in contemporary practices as a shift away from avant- religion, history, and philosophy of the Italian garde radicality. Although the course introduces Renaissance and art and architecture in Europe and students to some of the issues surrounding art since the “New World” from 1300 to the present. the 2000s, the main focus in the spring will be to provide a historical context for art from roughly 1960 Architectures of the Future, 1780 to 2000—and students will be introduced to major movements, including happenings, pop art, Fluxus, to the Present minimalism, conceptual art, site-specificity, Joseph C. Forte Earthworks, feminism, video art, institutional Open, Seminar—Year critique, installation, and activist art. Readings will Through PowerPoint presentations, readings, and vary from theoretical and scholarly appraisals to discussion, the course gives a challenging, inclusive, artists’ writings and manifestos. Visits to area and nuanced understanding of buildings and museums will be part of the curriculum. This lecture monuments; visionaries and builders; users and is a superlecture and may enroll up to 60 students. functions; and thoughts, practices, and theories of architecture from the Enlightenment to today—all claiming in one way or another to rethink the past, “A Talent for Every Noble Thing”: realize the present, and, most importantly, create Art, Architecture in Italy, the future. We will learn to read architecture and 1300-1600 read with architects; to contextualize form and its Joseph C. Forte urban, sociopolitical, and epistemological Open, Seminar—Year implications; and to see how architecture gives form This course involves an in-depth survey of the major to context, sense to experience, image to philosophy. monuments of Italian art and architecture from 1300 Over 200 years, notions of ideal beauty, type, and to 1600. Equal emphasis will be given to the histories function mutated to progress in form and function and societies of major city-states such as Pisa, and contemporary iterations in theories of the Siena, Florence, Venice, and Rome; the canon of art unformed, the sustainable, the mysterious objective, works by artists such as Giotto, Donatello, the abject, and the playful. We will analyze major Brunelleschi, Botticelli, Leonardo da Vinci, and movements (neoclassical, arts and crafts, Michelangelo; readings of major critics and technological sublime, art nouveau, Bauhaus, historians of Italian art; and the broader intellectual postmodernism, deconstruction, new pragmatism, 12 Art History figural, digital, sustainable) and figures (William extraordinary artists such as El Greco, Velázquez, Morris, Frank Lloyd Wright, Le Corbusier, Mies van der Goya, Cabrera, and Aleijadinho, as well as complex Rohe, Peter Eisenman, Rem Koolhaas, Sam Mockbee, issues surrounding art and identity in contested and Zaha Hadid, Jean Gang). Readings will be drawn from textured lands—in particular, Casta painting, history, philosophy, literature (realist, sci-fi, and colonialism, and arts of revolution and national visionary), Diderot, Edmund Burke, William Blake, identity. Students may, if they wish, extend their William Morris, Buckminster Fuller, Heidegger, conference work to later artists (e.g., Diego Rivera, Foucault Benjamin, and others. Projects, papers, an Frida Khalo, José Bedia, Belkis Ayón, among others). architectural notebook dedicated to class notes, readings, drawings, musings, etc., and a conference Masterworks of Art and project will be required in the history, theory, philosophy, and sociopolitical context, including Architecture of the Western women as users, patrons, and makers of art and Tradition: Part 2 architecture. Well-formulated design projects are a Jerrilynn Dodds possibility. This course shares connections with Open, Seminar—Spring visual arts, film, and a broad range of subjects in the This is a combination lecture and discussion-based humanities and social sciences. course, in which students will learn to analyze works of art for meaning against the backdrop of the Masterworks of Art and historical and social contexts in which the works were made. It is not a survey but will have as its Architecture of the Western subject a limited number of artists and works of art Tradition: Part 1 and architecture, which students will learn about in Jerrilynn Dodds depth through both formal analysis and readings. Open, Seminar—Fall The goal is to teach students to deal critically with This is a discussion-based course with some lecture works of art, using the methods and some of the segments, in which students will learn to analyze theories of the discipline of art history. The “Western works of art for meaning against the backdrop of the Tradition” is understood here geographically, historical and social contexts in which the works including works executed by any political or cultural were made. It is not a survey but will have as its group from the Fertile Crescent, the Mediterranean, subject a limited number of artists and works of art and extending to Europe and the Americas. Part 1 and architecture, about which students will learn in (fall semester) will include works from Ancient depth through both formal analysis and readings. Mesopotamia through the end of the Middle Ages. The goal is to teach students to deal critically with Part 2 (spring semester) will cover works from about works of art, using the methods and some of the 1500 to the present. This is not a yearlong course, but theories of the discipline of art history. The “Western students taking Part 1 will have priority in enrolling Tradition” is understood here geographically, for Part 2. (Not open to students who have taken FYS: including works executed by any political or cultural Art and History) group from the Fertile Crescent, the Mediterranean, and extending to Europe and the Americas. Part 1 Christians, Jews, and Muslims and (fall semester) will include works from Ancient Mesopotamia through the end of the Middle Ages. the Arts of Medieval Spain: Art, Part 2 (spring semester) will cover works from about Religion, and Identity 1500 to the present. This is not a yearlong course, but Jerrilynn Dodds students taking Part 1 will have priority in enrolling Intermediate, Seminar—Fall for Part 2. (Not open to students who have taken FYS: How can we read peoples’ sense of identity in the Art and History) arts? How do religious identities interact with national, regional, and cultural identities? Is Arts of Spain and Latin America, European identity necessarily Christian? These are some of the questions that will be addressed in this 1492–1820 seminar. From 711 to 1492, the Iberian Peninsula was Jerrilynn Dodds home to a number of kingdoms with constantly Open, Seminar—Spring transforming demographics, cities marked by This course will explore the art and architecture of religious pluralism, and kaleidoscopic political Spain and Latin America as its lands emerged from alliances between political and religious groups. colonialism to forge strong independent identities. Opposing forces rarely aligned simply with religious We will focus on selected topics, including affiliation in medieval Spain. If documents give us a THE CURRICULUM 13 biased and incomplete picture of the relationship Theories of Photography between and among Christians, Jews, and Muslims, Sarah Hamill the arts can provide a different kind of testimony to Intermediate, Seminar—Spring these rich and complex histories that continue to What is a photograph? The question seems simple have an impact on our lives today. This is an enough, given the pervasiveness of photographs in intermediate course. Some of the things that would our image-saturated world. Yet, as this course will qualify you to enroll for this course would be: having explore, a photograph is a representational previously taken a course in medieval art or Islamic framework with competing rhetorical meanings. On art; having taken a course in medieval or Islamic the one hand, it is a verisimilitude of the visual history or civilization; or the ability to conduct world, a proof, resemblance, or transcription. On the research in Spanish. You are also welcome during other, a photograph is a pictorial invention, a interviews to make a case for other skills or fabricated image that is shot through with its own background that you feel might qualify you. social and pictorial conventions, located in part through the photograph's framing, lighting, Object, Site, and Installation cropping, and point of view. Tracing these Sarah Hamill contradictory definitions, this oursec explores how Intermediate, Seminar—Fall the photograph has been defined and estt ed from its How do we understand sculpture’s literalism, its origins. The seminar will engage—through insistent presence in time and space? Taking our methodologies of close reading—the canonical texts cues from the histories of sculpture, readings in of photographic theory from key 19th-century sculptural aesthetics, and theories of objects and sources to modernist and postmodernist texts, as social space, this focused seminar examines how well as more recent writing on race, photography, modern and contemporary artists have defined and the colonization of the body; photography and sculpture in relation to the body, light, and touch; the identity; theories of the archive and representations pedestal, museum, and public sphere; commodities of labor; photography, war, and violence; and and everyday objects; and other media such as intersections between photography and film. Our photography, film, video, and sound. eW begin with discussions of theoretical texts will also be grounded the legacies of neoclassicism and the fraught status in a consideration of photographs themselves, so of sculpture in modernism and conclude our story that students learn close, analytical visual reading. with large-scale, immersive installations in We will learn to think broadly and diversely about a contemporary art. Along the way, we find artists photograph as an image, an archive, a display, a remaking the category of sculpture by blurring the material thing, and a commodity. We will rely on New boundaries between public and private; using York’s rich photographic collections to ground our reproducible and two-dimensional media; and discussions, and students will be encouraged to making objects that incorporated commodities, focus their conference papers on works seen locally. things, bodies, and detritus. The course will touch on discourses of modernism, surrealism, minimalism, Other courses of interest are listed below. Full site-specificity, installation, and participatory art descriptions of the courses may be found under the while offering students a toolkit for thinking about appropriate disciplines. theories of objects and relational aesthetics; race, representation, and monumentality; social and First-Year Studies: How Things Talk: The Linguistic public space; and histories of installation and Materialities of Late Capitalism (p. 4), Aurora display. Exploring a range of focused case Donzelli Anthropology studies—whenever possible, in situ—this course Specters of the Subject: Hauntologies of Ghosts, asks what a 20th-century sculpture was and how it Phantasms, and Imaginings in Contemporary operated in the public realm. This course will also Life (p. 7), Robert R. Desjarlais Anthropology entail a focused consideration of the Bruce Nauman Understanding Experience: Phenomenological exhibition at MoMA and a field trip ot Dia:Beacon; Approaches in Anthropology (p. 5), Robert R. students will be encouraged to focus their Desjarlais Anthropology conference papers on works seen locally. Sacrifice (p. 17), Sandra Robinson Asian Studies Landscapes in Translation: Cartographies, Visions, and Interventions (p. 42), Charles Zerner Environmental Studies First-Year Studies: Film as Popular Art (p. 44), Michael Cramer Film History 14 Asian Studies History and Aesthetics of Film (p. 44), Michael ASIAN STUDIES Cramer Film History Surrealism: A Transmedia Movement (Poetry, Asian Studies is an interdisciplinary field grounded in Painting, and Film) (p. 45), Sally Shafto Film current approaches to the varied regions of Asia. History Seminars and lectures are offered on China, Japan, Realisms (p. 45), Noa Steimatsky Film History India, Bangladesh, Nepal, and Indonesia. Courses The Blues Ethos and Jazz Aesthetics: A History of explore Asian cultures, geographies, histories, African Americans in the City (p. 73), Komozi societies, and religions. Visual and performing arts Woodard History are included in the Asian Studies curriculum. Faculty, Romantic Europe (p. 69), Philip Swoboda History trained in languages of their areas, draw on The Enlightenment (p. 69), Philip Swoboda History extensive field xperience e in Asia. Their courses Gender, Race, and Media: Historicizing Visual bridge humanities, social sciences, and global Culture (p. 76), Rachelle Sussman Rumph studies. History Students are encouraged to consider studying First-Year Studies: 20th-Century Italian in Asia during their junior year. The Office of Literature (p. 86), Tristana Rorandelli Literature International Programs assists students in locating 17th-Century British Literature (p. 88), William appropriate opportunities. Recent Sarah Lawrence Shullenberger Literature College students have participated in programs of The Bible and Literature (p. 87), William study in China, India, and Japan. Shullenberger Literature First-Year Studies: Fops, Coquettes, and the First-Year Studies: Reform and Masquerade: Fashioning Gender and Courtship From Shakespeare to Austen (p. 85), James Revolution: China’s 20th Century Horowitz Literature Kevin Landdeck Translation Studies: Poetics, Politics, Theory, and Open, FYS—Year Practice (p. 91), Bella Brodzki Literature In 1900, China was a faltering empire ruled by an First-Year Studies: The New Elements: Mathematics autocratic foreign dynastic house and an entrenched and the Arts (p. 95), Philip Ording Mathematics bureaucracy of Confucian officials. Its vso ereignty Art and Visual Perception (p. 125), Elizabeth heavily battered and its territory compromised by Johnston Psychology foreign powers, China was commonly called “The First-Year Studies: The Senses: Art and Sick Man of Asia.” In 2000, China was a modern Science (p. 124), Elizabeth Johnston Psychology nation-state ruled by an authoritarian party and an Lost and Found: Collage and the Recycled entrenched bureaucracy of technocrats and Image (p. 171), Gary Burnley Visual and Studio administrators. With a surging economy, swollen Arts foreign reserves, dazzling modern cities, and a large Basic Analog Black-and-White Photography (p. 170), and technologically advanced military, it is regularly Michael Spano Visual and Studio Arts predicted to be the next global superpower. Yet, the 3D Modeling (p. 169), Shamus Clisset Visual and path between these two startlingly different points Studio Arts was anything but smooth. China’s 20th century was Introduction to Digital Imaging (p. 168), Shamus a tortuous one. Policymakers, elites, and the Clisset Visual and Studio Arts common people oscillated between the poles of First-Year Studies: The New Narrative reform and revolution—bouts of wild radicalism Photography (p. 165), Joel Sternfeld Visual and alternated with more sober policies—as they Studio Arts pursued changes that they hoped would bring a Problems in Photography (p. 171), Lucas Blalock better society and nation. This class examines some Visual and Studio Arts of the major events and personalities of this arduous The Ideas of Photography (p. 170), Joel Sternfeld century and its momentous political, social, and Visual and Studio Arts cultural changes. We will learn and apply skills of Wood, Dust, Nail (p. 168), Kenneth Tam Visual and historical analysis to primary documents (in Studio Arts translation), some fiction, and film. Along the ywa , Advanced Interdisciplinary Studio (p. 167), Vera we will encounter a rich cast of characters, Iliatova Visual and Studio Arts including China’s “national father” Sun Yat-sen, Poetry: What Holds The Unsayable (p. 182), Marie colorful warlords, corrupt bureaucrats, fervent Howe Writing intellectuals, protesting youths, heroic communist A Kind of Haunting: A Poetry Workshop (p. 182), martyrs, the towering and enigmatic chairman Mao Cynthia Cruz Writing Zedong, long-suffering peasants, and fanatical Red THE CURRICULUM 15

Guards. These men and women made and remade In a different vein, serious literature—such as Black modern China. This class is history and, thus, is not Rain by Masuji Ibuse—will open up the relevance of primarily concerned with contemporary China; but, atomic narratives by exploring the social alienation by the end of the year, students will be well- endured by the hibakusha (bomb survivors) in equipped with an understanding of China’s recent postwar Japan. Shōmei Tōmatsu's photography of past—knowledge that will help immeasurably in Nagasaki and its hibakusha will provide a visual making sense of today’s China as it becomes window on the bombs’ legacy, as well. We will also increasingly important in our globalized economy examine some popular culture—the original (1954) and society. Godzilla (Gojirō) movie and some anime or manga—for the ways in which the bombs were The Atomic Bombs as History, appropriated and invoked in apocalyptic imagery, imagery that expressed a distinctive understanding Experience, and Culture: of the dark side of science and technology and made Washington, Hiroshima, and a lasting contribution to wider global culture. Nagasaki Kevin Landdeck Popular Culture in China Open, Seminar—Fall Ellen Neskar In January 2018, the Bulletin of Atomic Scientists set Open, Seminar—Fall the hands of the Doomsday Clock (yes, it’s a thing) at This course explores a variety of forms of traditional two minutes to midnight, the nearest it has been to popular culture that continue to survive in China and catastrophe since 1953. In February, Putin abroad. Among the topics we will cover are: folktales announced that Russia has developed “invincible” (Mulan, the Butterfly oL vers); festivals (New Year’s, nukes capable of hitting virtually anywhere on the Dragon Boat, Herdboy, and Weaving Maid); popular globe, while Donald Trump goaded Kim Jong-un with deities (Mazu, Guanyin); and religious practices (All tweets about the size of his nuclear “button.” With Souls, Hell, ancestor worship). Our focus will be on world leaders flirting with the prospect of nuclear their historical origins and transformations through holocaust, an understanding of the only instance of a variety of cultural forms. Particular attention will nuclear warfare is again relevant—even crucial. be paid to their entertainment, political, ideological, Through a rich variety of sources (textual, visual, and and sociological functions. This course aims to build cinematic), this seminar will examine the atomic different—and sometimes competing—conceptions bombings of Hiroshima and Nagasaki in August 1945 of “tradition” and understand their continuing from three major perspectives. First, reading relevance today. Since many of these practices and scholarship and primary documents, we will look at beliefs reside outside the lens of elite taste and the decision to drop the bombs, as well as the political authority, our materials will include opera, postwar claims justifying them. We will challenge drama, popular fiction, and visual arts. the American narrative that the bombings were militarily necessary, while also putting them into the historical context of World War II—specifically, Writing India: Transnational strategic bombing of nonmilitary targets, prospects Narratives of Japanese surrender in the final months of the Sandra Robinson conflict, and the looming Cold War with Russia. Open, Seminar—Fall Second, we will confront the effects of the bombs on The global visibility of South Asian writers has Hiroshima, Nagasaki, and their populations. changed the face of contemporary English literature. Technical descriptions and firsthand accounts will Many writers from the Indian subcontinent continue help us grasp the unique destructiveness of the to narrate tumultuous events surrounding the 1947 atomic bombs on both bodies and buildings, as well partition of India and Pakistan that occurred with as how people coped with that destructiveness. The independence from British rule. Their writings diary of Michihiko Hachiya, for example, will reveal a narrate legacies and utopian imaginings of the past medical doctor’s observations on the breakdown of in light of current dystopic visions and optimistic society and how ordinary Japanese dealt with the aspirations. The seminar addresses themes of aftermath of the bombing of Hiroshima. And finally, identity, fragmentation, hybridity, memory, and the course examines the impact of the bombs on alienation that link South Asian literary production Japan’s postwar culture, including the profound to postcolonial writing from varied cultures of Asia, sense of victimization they imparted, which has Africa, and Latin America. Accounts of South Asian complicated Japanese narratives about World War II communal violence reflect global urgencies. The and inspired an abiding pacifism in Japanese society. 16 Asian Studies cultural space of India has been repeatedly imaginative constructions of national (or social) transformed and redeployed according to varied communities that are smuggled inside these cultural projects, political interests, and economic “personal” stories. agendas. After briefly onsideringc representations of India in early chronicles of Chinese, Greek, and Reading China’s Revolutions Persian travelers, we explore modern constructions of India in excerpts from writers of the British Raj. Through Fiction and Memoir Our major focus is on India as remembered and Ellen Neskar imagined in selected works of writers, including Open, Seminar—Spring Salman Rushdie and Arundhati Roy. Film adaptations Some of the most consequential and revolutionary are included. We apply interdisciplinary critical prose written in 20th-century China is to be found inquiry as we pursue a literature that shifts neither in history nor politics but in fiction and increasingly from narrating the nation to narrating memoir. Indeed, state leaders, reformers, and its diasporic fragments in transnational contexts. revolutionaries all believed that fiction was entrc al in their push toward political change and national modernization. The premise of this course is that Personal Narratives: Identity and literature offers an important glimpse into the History in Modern China individual, social, and cultural goals and Kevin Landdeck ramifications of China’s political revolutions. More Open, Seminar—Spring specifically, the course will look at the short-story This seminar explores the realm of private life and fiction and memoirs produced following the 1911 individual identity and its relationship to the revolution and May Fourth Movement (1919), the historical events and changes taking place in 1949 communist revolution, the Cultural Revolution modern China from the late Qing dynasty (1644-1911) (1966-76), and the post-Mao era (1976-1990). into the Reform era (2000s). Our investigations will Although we will use various methods of literary cover an eclectic mix of “personal” writings: diaries, analysis, the primary approach to the readings will letters, memoirs, oral testimony, autobiographies, be historical. Topics to be explored include: the ways third-party anthropological reconstructions of in which early writers viewed the problems of individuals, and (auto)biographical fiction. Among traditional literature, the role of literature in others, we will encounter late imperial Confucian bringing about social and political change, the radicals and mystics, petty literati, young urban tension between the individual and society, and women and their mothers with bound feet, peasants, changing notions of gender. We will also look at the radical revolutionaries, intellectuals, Maoist Red ways in which some writers (among them Lu Xun Guards, and factory workers. These personal and Ding Ling) created new narrative techniques to narratives not only open up windows on the lives and embody their vision of social realism and in which times of their writers but also allow us to investigate others adopted Western literary techniques to the intersection between the practice of writing and convey their self-image as “modern” or identity construction in modern China. The primary “international” writers. readings will be contextualized with historical scholarship and supplemented by selections from Images of India: Text/Photo/Film some important theorists (Benedict Anderson, Anthony Giddens, and René Girard) that provide Sandra Robinson interdisciplinary analytical tools to explore the Open, Seminar—Spring construction of personal identity and the self. We This seminar addresses colonial and postcolonial will ask ourselves how the writers of the personal representations of India. For centuries, India has writings present themselves: What are their self- been imagined and imaged through the lens of conceptions and self-deceptions? Where does their orientalism. In recent decades, writers and visual sense of “self” come from, and how do they artists from India, Pakistan, and Bangladesh have construct private selves through writing? We should been actively engaged in reinterpreting the British even dare to ask whether these categories of colonial impact on South Asia. Their work presents “private” and “self” are relevant. The rapid, often sensibilities of the colonized in counter narration to traumatic, changes of modern China will cause us to images previously established during the Raj. consider how these people understood and situated Highlighting previously unexposed impressions, such themselves in wider society and the events of their works inevitably supplement, usually challenge, and time and, thus, will raise questions about the frequently undermine traditional accounts underwritten by imperialist interests. Colonial and THE CURRICULUM 17 orientalist discourses depicted peoples of the Indian edicts, ritual manuals, legal cases, religious texts, subcontinent both in terms of degradation and in temple records, private memoirs and diaries, miracle terms of a romance of empire, thereby rationalizing tales, didactic fiction, and olklorf e. various economic, political, and psychological agendas. The external invention and deployment of Sacrifice the term “Indian” is emblematic of the epoch, with colonial designation presuming to reframe Sandra Robinson indigenous identity. Postcolonial writers and artists Sophomore and above, Seminar—Fall are, consequently, renegotiating identities. What This seminar explores themes of sacrifice in does it mean to be seen as an Indian? What classical Indian and Western traditions. After historical claims are implicit in allegories of exploring case studies from ancient India and ethnicity, linguistic region, and nation? How do such Greece, we analyze survivals of classical sacrifice in claims inform events taking place today, given the contemporary literature and cinema. Sacrificial resurgence of Hindu fundamentalism? For this practices bridge religious, political, and economic seminar on the semiotics and politics of culture, aspects of culture. The sacrifice of a scapegoat sources include works by influential South Asian channels violence and legitimizes acts of killing or writers, photographers, and filmmakers. destruction in order to serve social interests of surrogacy and catharsis. As sacrament, sacrifice represents transformational mystery. As ceremonial Religion and the State in China exchange, it facilitates negotiations of status, Ellen Neskar observance of boundaries, and the redistribution of Sophomore and above, Seminar—Year goods. In specific cultural settings, sacrifice News coverage of China often highlights the functions as celebration, as a manifestation of government’s persecution of religious groups, goodwill, as insurance, and/or as a source of among them Falungong and Tibetan Buddhism. And communion. Seminar topics include: offerings, gift yet, the same government tolerates a widespread exchange, fasting and feasting, the warrior ethic, cult to the deceased Communist Party Chairman Mao victimization and martyrdom, bloodletting and Zedong as the god of wealth and business success. scarification, asceticism, and renunciation. The This course seeks to place China's often seminar addresses the politics of sacrifice and contradictory attitudes toward religion within a scapegoating through critical inquiry into sati broader historical and cultural context by looking at (widow immolation) in India, charity and service the rise and unfolding of Confucianism, Taoism, tourism, court rituals and judicial proceedings, the Buddhism, and popular religion. We will focus on two targeting of ethnic scapegoats, and gender bullying. related themes: 1) how different religious groups in Primary texts include Hindu myth and ritual, Greek China interacted with and affected the state; and 2) tragedies, Akedah paintings, the Roman Catholic how the state created its own religious structure and Eucharist, and selected contemporary short stories ultimately shaped the various religions. Questions to and films. eadingsR are drawn from anthropology, be raised will include the following: How did the literature, comparative religions, and cultural traditional religions both support and oppose the studies. state? How did the state adopt the symbols and practices of these religions to legitimize its Pilgrimage and Tourism: South authority? How did the traditional Chinese state conceive of the sacred role of the emperor? What Asian Practices assumption led to its creation of a state religion that Sandra Robinson controlled private religious practices? How has the Sophomore and above, Seminar—Spring contemporary Chinese government borrowed, Among global cultures of travel, pilgrimage is transformed, or eradicated the traditional prevalent in the Hindu, Buddhist, and Sufi Islamic relationships between religious groups and the traditions of South Asia. At temples and shrines state? We will attempt to answer these questions throughout the subcontinent, pilgrims perform from a multidisciplinary approach that encompasses sacraments, rites of initiation, sacrifices, and other religious, institutional, intellectual, and cultural acts of renunciation. Pilgrim fairs and festivals serve perspectives. Although readings will include multiple functions, providing venues not only for secondary sources, emphasis will be placed on religious expression but also for arts performance, primary documents. Sources will include government social negotiation, and economic exchange. This seminar explores the proposition that pilgrimage and tourism are functionally indistinguishable. If 18 Biology categories of travel are to be defined, what ole,r if The Atomic Bombs as History, Experience, and any, do travelers’ intentions play in such an analysis? Culture: Washington, Hiroshima, and Is a spiritually inscribed journey qualitatively Nagasaki (p. 71), Kevin Landdeck History different from tourism with a recreational, cultural, Japanese I (p. 80), Chieko Naka Japanese or service agenda? How does the transitional Japanese II (p. 80), Chieko Naka Japanese process of a journey from home relate to the Japanese III (p. 81), Izumi Funayama Japanese experience of arrival at a destination? Through a Japanese Literature: Ancient Myths to Early Modern study of travel memoirs, we explore themes of quest, Tales (p. 89), Sayuri I. Oyama Literature discovery, and personal transformation. Postcolonial Japanese Literature: Modern to Contemporary writings on spiritually inscribed journeys raise issues Literature (p. 91), Sayuri I. Oyama Literature of dislocation, exile, memory, and identity. We inquire Global Circulations: Art and Pop Music of critically into traditional mappings of “sacred Asia (p. 101), Niko Higgins Music geographies” and the commercial promotion of Buddhist Meditation in East Asia (p. 140), T. Griffith competing destinations. We analyze travel industries Foulk Religion and the specialists who service the many spectacles Buddhist Meditation in India, Southeast Asia, and and attractions found along pilgrim and tourist Tibet (p. 138), T. Griffith Foulk Religion routes. Films and photographic sources are used Japanese Religion and Culture (p. 138), T. Griffith extensively. Readings are drawn from cultural Foulk Religion studies, history of religions, anthropology, and Religion in Contemporary Japan (p. 140), T. Griffith personal narrative. Foulk Religion Informality and Precariousness in the City: Family, Other courses of interest are listed below. Full Home, and the Politics of Transnational descriptions of the courses may be found under the Life (p. 146), Parthiban Muniandy Sociology appropriate disciplines. First-Year Studies: How Things Talk: The Linguistic Materialities of Late Capitalism (p. 4), Aurora BIOLOGY Donzelli Anthropology Specters of the Subject: Hauntologies of Ghosts, Biology is the study of life in its broadest sense, Phantasms, and Imaginings in Contemporary ranging from topics such as the role of trees in Life (p. 7), Robert R. Desjarlais Anthropology affecting global atmospheric carbon dioxide down to Understanding Experience: Phenomenological the molecular mechanisms that switch genes on and Approaches in Anthropology (p. 5), Robert R. off in human brain cells. Biology includes a Desjarlais Anthropology tremendous variety of disciplines: molecular biology, Faking Families: How We Make Kinship (p. 5), Mary A. immunology, histology, anatomy, physiology, Porter Anthropology developmental biology, behavior, evolution, ecology, Making the World Go Round: Children as Cogs in the and many others. Because Sarah Lawrence College Wheels of Empire (p. 6), Mary A. Porter faculty members are broadly trained and frequently Anthropology teach across the traditional disciplinary boundaries, Beginning Chinese (p. 25), Leihua Weng Chinese students gain an integrated knowledge of living Films and Novels in Chinese (p. 25), Leihua Weng things—a view of the forest, as well as the trees. Chinese In order to provide a broad introduction and Intermediate Chinese (p. 25), Leihua Weng Chinese foundation in the field of biology, a number of Political Economy of Women (p. 38), Kim Christensen courses appear under the designation General Economics Biology Series. Each of these open-level, semester- Food, Agriculture, Environment, and long courses have an accompanying lab component. Development (p. 61), Joshua Muldavin Students may enroll in any number of the General Geography Biology Series courses during their time at Sarah Introduction to Development Studies: The Political Lawrence and in any order, although it is strongly Ecology of Development (p. 62), Joshua recommended that students begin with General Muldavin Geography Biology Series: Genes, Cells, and Evolution in the fall First-Year Studies: Reform and Revolution: China’s semester. Completion of any two General Biology 20th Century (p. 67), Kevin Landdeck History Series courses fulfills the minimum biology Personal Narratives: Identity and History in Modern curriculum requirements for medical school China (p. 73), Kevin Landdeck History THE CURRICULUM 19 admission. These courses typically meet the Biodiversity and Conservation prerequisite needs for further intermediate- and Ecology advanced-level study in biology, as well. Jenna Lawrence General Biology Series: Genes, Open, Seminar—Fall In this course, we will explore life on land and in the Cells, and Evolution sea, both far-flung and local. Our focus will be on Drew E. Cressman how organisms interact with the world around Open, Lecture—Fall them—and the endlessly creative ways humans Biology, the study of life on Earth, encompasses alter those interactions. We will begin with a structures and forms ranging from the very minute whirlwind tour of the tree of life before delving into to the very large. In order to grasp the complexities the diversity of relationships that individuals have of life, we begin this study with the cellular and with members of their own species, members of molecular forms and mechanisms that serve as the different species, and the physical environment. We foundation for all living organisms. The initial part of will tackle current issues—such as habitat the semester will introduce the fundamental destruction, overfishing, and the curse of the small molecules critical to the biochemistry of life population—blending lecture and discussion, processes. From there, we branch out to investigate exploring primary scientific literature, and visiting the major ideas, structures, and concepts central to the Center for the Urban River at Beczak. Students the biology of cells, genetics, and the chromosomal will also learn to use real-world data to ask and basis of inheritance. Finally, we conclude the answer real-world questions, such as: How semester by examining how these principles relate apocalyptic has the Hudson River zebra-mussel to the mechanisms of evolution. Throughout the invasion been? What does postwar ecosystem semester, we will discuss the individuals responsible recovery look like in Mozambique? How can we best for major discoveries, as well as the experimental design marine protected areas in the Bahamas to techniques and process by which such advances in benefit both orc al-reef dwellers and the humans biological understanding are made. Classes will be that depend on them? supplemented with weekly laboratory work. Hormones, Food, and Sex Principles of Botany Cecilia P. Toro Kenneth G. Karol Open, Seminar—Fall Open, Seminar—Fall Hormones are released from diverse tissues, Understanding the basic principles of plant biology is including the brain, ovaries, testes, and fatty tissues. crucial to understanding the complex web of life on These small molecules travel around the body via the Earth and its evolutionary history. Nearly all other circulatory system and can influence the activity of organisms, including humans, rely on distant cells involved in key biological processes. In plants—directly or indirectly—for their basic needs. this course, we will study the principles of hormone Consequently, plants are essential to our existence; signaling (endocrinology) by focusing on two and by studying them, we learn more about our self overarching topics: hormones that modulate food and the world we inhabit. This course is an intake and utilization and hormones that control introductory survey of botanical science and is reproduction. The key molecules, cells, and tissues designed for the student with little science that play a role in hormonal signaling pathways will background. We will broadly examine numerous be examined. We will study the hormones that topics related to botany, including: cell biology control appetite, fat deposition, and weight; we will comprising DNA/RNA, photosynthesis, and discuss how hormones affect our perception of respiration; plant structure, reproduction, and flavor; and we will consider the role of hormones in evolution; as well as plant diversity, ecology, and the rise of obesity in people around the world. We habitats. Seminars and textbook readings will be will study the hormones that control many aspects supplemented by a field trip ot the New York of reproduction, including puberty, ovulation, Botanical Garden. Conference projects will provide sexuality, sex, pregnancy, birth, lactation, and the opportunity for the student to explore specific menopause; we will consider how hormones define botanical interests in detail. male and female characteristics; and we will discuss how hormone therapy is used for transitioning transgender individuals. 20 Biology Introduction to Genetics Sensory Biology Sumaira Zamurrad Cecilia P. Toro Open, Seminar—Fall Open, Seminar—Spring Genetics is the study of the basic unit of all life: Why do chili peppers taste “hot,” while peppermint genes. Genes are composed of DNA, intricately gum tastes “cold”? How can humans distinguish packaged in structures called chromosomes that between a trillion different odors? Scallops have ultimately encode proteins that are key for the dozens of eyes...really? Can onions be confused with normal development and homeostasis of all of the apples if our noses are plugged? Why do flowers cellular and molecular processes in the cell. These appear different to humans and to bees? Why can’t process are crucial to maintain the optimal function we hear the echolocation calls of most bats? The of all the organs and systems that comprise the answers to these questions lie in our understanding human body. Changes such as mutations in genes of how animals interact with their environments via can lead to a plethora of defects and, hence, sensory perception. In this course, we will study the diseases and disorders. This course will not only sensory systems underlying hearing, balance, vision, introduce the amazing variety and diversity found in smell, taste, and touch. We will explore senses from life due to the changes at the genetic level but also a neurobiological perspective and, therefore, will how many of those genetic changes are responsible begin with an overview of the nervous system and for numerous disease states, as well. We will learn the structure and function of neurons. We will then about and discuss the basic molecular mechanisms study how each sense is based on the perception of that determine heredity, such as mitosis and a particular stimulus by specialized sensory neurons meiosis, leading into Mendelian genetics, various within specialized sensory tissues. We will discuss kinds of mutations, population and evolutionary how stimuli are converted to cellular information genetics. We will also introduce and discuss some of and how this is communicated to the brain, leading the exciting genetic techniques that present great to perception. We will also explore the remarkable promise to increase our ability to further explore the abilities that underlie animal navigation, including vast treasure chest of information that lies in our the magnetoreception used by butterflies and sea genes. Classes will be supplemented with weekly turtles during migration. laboratory work. Biology of Cancer General Biology Series: Anatomy Drew E. Cressman and Physiology Intermediate, Seminar—Fall Beth Ann Ditkoff Cancer is likely the most feared and notorious of Open, Seminar—Spring human diseases, being devastating in both its scope Anatomy is the branch of science that explores the and its prognosis. Cancer has been described as an bodily structure of living organisms, while physiology alien invader inside one’s own body, characterized by is the study of the normal functions of these its insidious spread and devious ability to resist organisms. In this Anatomy and Physiology course, countermeasures. Cancer’s legendary status is we will explore the human body in both health and rightfully earned, accounting for 13% of all human disease. Focus will be placed on the major body units deaths worldwide and killing an estimated eight such as the skin, skeletal, muscular, nervous, million people annually. In 1971, President Richard endocrine, cardiovascular, respiratory, digestive, Nixon declared a “war on cancer”; since then, more urinary, and reproductive systems. By emphasizing than $200 billion has been spent on cancer research. concepts rather than the memorization of facts, we While clinical success has been modest, tremendous will make associations between anatomical insights have been generated in understanding the structures and their functions. The course will have cellular, molecular, and genetic mechanisms of this a clinical approach to health and illness, with disease. In this course, we will explore the field of examples drawn from medical disciplines such as cancer biology, covering topics such as tumor radiology, pathology, and surgery. A final onfc erence viruses, cellular oncogenes and tumor suppressor paper is required at the conclusion of the course. genes, cell immortalization, multistep tumorigenesis, The topic of the paper will be chosen by each cancer development and metastasis, and the student to emphasize the relevance of anatomy/ treatment of cancer. In addition, we will discuss new physiology to our understanding of the human body. advances in cancer research and draw from recent articles in the published literature. THE CURRICULUM 21 Neurons and the Nervous System Plant Systematics and Evolution Cecilia P. Toro Kenneth G. Karol Intermediate, Seminar—Fall Intermediate, Seminar—Spring The brain is the most complex organ. The human Understanding the diversity of plants and their brain contains 100 billion neurons whose functions evolutionary relationships is fundamental to underlie our remarkable capacities, including the understanding the complex web of life on Earth. ability to sense our environment, communicate via Nearly all other organisms, including humans, rely on language, learn and remember, perform precise plants—directly or indirectly—for their food and movements, and experience emotions. In this oxygen. Consequently, plants are essential to our introduction to neuroscience, we will focus on the existence; and by studying plants in detail, we learn structure and function of the nervous system, more about our own species and the world we considering molecular, cellular, systems, and inhabit. This course is a detailed survey of plant cognitive perspectives. We will learn how the diversity and the evolutionary relationships of nervous system develops and how the major cells of plants. In the course, you will gain a thorough the nervous system—neurons and glia—function. understanding of the diverse morphology of plants We will examine the chemical and electrical modes and will acquire an understanding of the plant “Tree of communication between neurons, with a focus on of Life.” You will be able to describe morphological the action potential and neurotransmission. We will structures of plants using botanical terminology and consider the major subdivisions of the brain and how learn how to identify prominent plant families using those regions control neural functions, including diagnostic morphological characters and plant keys. learning and memory, attention, emotion, language, Seminars and associated labs will be supplemented sleep, movement, and sensory perception. Finally, we with independent field ollections.c will study disorders of the nervous system and consider how they inform our understanding of Synaptic Transmission healthy brain function. Cecilia P. Toro Advanced, Seminar—Spring Environmental Metagenomics This course will delve deep into the molecular and Michelle Hersh cellular mechanisms underlying synaptic Intermediate, Seminar—Spring transmission between neurons and other cells. How many different species of fungi can live in tiny Through careful readings of primary and secondary plant seeds? You may be surprised to learn that that literature, including select textbook chapters, we number is actually quite large. The amount of will consider the current state of knowledge of how biodiversity in the microbial world is vast; but, until neurotransmitters are released and detected. Topics recently, peering into this “black box” has been will include: the biophysics of the neuron, including extremely difficult. With the advent of high- how concentration gradients of key ions allow for throughput DNA sequencing methods, it is now far the generation and propagation of the neuronal easier to characterize this cryptic diversity. In this action potential; how changes in ion concentration course, students will participate in an ongoing lead to vesicle fusion and the controlled release of research project on the hidden fungal diversity in neurotransmitters via exocytosis; how activation of plant seeds and determine if and how those fungal neurotransmitter receptors leads to electrochemical communities shift in response to landscape changes in postsynaptic cells; the structure and fragmentation. Students will learn current methods gating of key ion channels; the synaptic correlates of to characterize microbial communities, including learning and memory; and disorders of the synapse, both high-throughput DNA sequencing and including channelopathies. Throughout the bioinformatics techniques. The course will involve semester, we will discuss how neurotoxins used by both laboratory work and data analyses. Students species from across the animal kingdom—from who wish to enroll in this course should have previous platypuses and cone snails to funnel web spiders laboratory experience in biology and a willingness to and cobras—immobilize prey by targeting specific learn some basic command-line programming. synaptic proteins.

Other courses of interest are listed below. Full descriptions of the courses may be found under the appropriate disciplines. Biochemistry (p. 24), Mali Yin Chemistry 22 Chemistry General Chemistry I (p. 22), Mali Yin Chemistry offers General Chemistry, Organic Chemistry, and General Chemistry II (p. 22), Mali Yin Chemistry Biochemistry to provide a foundation in the theories Nutrition (p. 24), Mali Yin Chemistry central to this discipline. Inorganic Chemistry (p. 24), Colin D. Abernethy Just as experimentation played a fundamental Chemistry role in the formulation of the theories of chemistry, Organic Chemistry I: A Guided Inquiry experimentation plays an integral part in learning Seminar (p. 23), Colin D. Abernethy Chemistry them. Therefore, laboratory experiments Organic Chemistry II: A Guided Inquiry complement many of the seminar courses. Seminar (p. 24), Colin D. Abernethy Chemistry Bio-Inspired Artificial Intelligence (p. 29), James General Chemistry I Marshall Computer Science Mali Yin An Introduction to Statistical Methods and Open, Lecture—Fall Analysis (p. 95), Daniel King Mathematics Chemistry is the study of the properties, Calculus I: The Study of Motion and Change (p. 96), composition, and transformation of matter. Daniel King Mathematics Chemistry is central to the production of the Calculus II: Further Study of Motion and materials required for modern life; for example, the Change (p. 97), Daniel King Mathematics synthesis of pharmaceuticals to treat disease, the Game Theory: The Study of Conflict and manufacture of fertilizers and pesticides required to Strategy (p. 96), Daniel King Mathematics feed an ever-growing population, and the Introduction to Electromagnetism, Light, and development of efficient and environmentally- Modern Physics (General Physics Without benign energy sources. This course provides an Calculus) (p. 115), Alejandro Satz Physics introduction to the fundamental concepts of modern Introduction to Mechanics (General Physics Without chemistry. We will begin by examining the structure Calculus) (p. 115), Alejandro Satz Physics and properties of atoms, which are the building Challenges to Development: Child and Adolescent blocks of the elements and the simplest substances Psychopathology (p. 134), Jan Drucker in the material world around us. We will then explore Psychology how atoms of different elements can bond with each First-Year Studies: The Senses: Art and other to form an infinite variety of more complex Science (p. 124), Elizabeth Johnston Psychology substances called compounds. This will lead us to an Eco-Poetry (p. 181), Marie Howe Writing investigation of several classes of chemical reactions, the processes by which substances are transformed into new materials with different CHEMISTRY physical properties. Along the way, we will learn how and why the three states of matter (solids, liquids, Chemistry seeks to understand our physical world on and gases) differ from one another and how energy an atomic level. This microscopic picture uses the may be either produced or consumed by chemical elements of the periodic table as building blocks for reactions. In weekly laboratory sessions, we will a vast array of molecules, ranging from water to perform experiments to illustrate and test the DNA. But some of the most fascinating aspects of theories presented in the lecture part of the course. chemistry involve chemical reactions, where These experiments will also serve to develop molecules combine and transform—sometimes practical skills in both synthetic and analytic dramatically—to generate new molecules. chemical techniques. Chemistry explores many areas of our physical world, ranging from our bodies and the air that we General Chemistry II breathe to the many products of the human Mali Yin endeavor and including art and a plethora of Open, Lecture—Spring consumer products. Students at Sarah Lawrence This course is a continuation of General Chemistry I. College may investigate these diverse areas of We will begin with a detailed study of both the chemistry through a variety of courses: Atmospheric physical and chemical properties of solutions. This Chemistry, Environmental Chemistry, Nutrition, will enable us to consider the factors that affect Photographic Chemistry, and Extraordinary both the rates and direction of chemical reactions. Chemistry of Everyday Life, to name a few. In We will then investigate the properties of acids and addition to these courses, the College routinely bases and the role that electricity plays in chemistry. The course will conclude with introductions to nuclear chemistry and organic chemistry. Weekly THE CURRICULUM 23 laboratory sessions will allow us to demonstrate and organic compounds. We will see that organic test the theories described in the lecture segment of compounds can be classified into families of similar the course. compounds based upon certain groups of atoms that always behave in a similar manner no matter what Organic Chemistry I: A Guided molecule they are in. These functional groups will enable us to rationalize the vast number of reactions Inquiry Seminar that organic re-agents undergo. Topics covered in Colin D. Abernethy this course include: the types of bonding within Open, Seminar—Fall organic molecules; fundamental concepts of organic Research has shown that students learn much more reaction mechanisms (nucleophilic substitution, effectively when they are actively engaged and when elimination, and electrophilic addition); the ideas and concepts are developed by the students conformations and configurations of organic themselves rather than simply being presented by a molecules; and the physical and chemical properties professor or read in a textbook. This course is of alkanes, halogenoalkanes, alkenes, alkynes, and designed as a series of interactive Guided Inquiry alcohols. In the laboratory section of the course, we exercises. During each seminar, you will be will develop the techniques and skills required to presented with data and important observations synthesize, separate, purify, and identify organic regarding the topic being studied. The class will compounds. Organic Chemistry is a key requirement work in small groups to answer a series of directed for pre-med students and is strongly encouraged for questions designed to lead each student toward the all others who are interested in the biological and development of a target concept or idea. These physical sciences. In addition, the Guided Inquiry classroom activities are designed to follow the exercises will sharpen your analytical skills and scientific process as much as possible. You will be teach you how to think like a scientist. Your asked to make predictions based on the model that experiences working as part of a team in this course has been developed by the class. Further data or will help you in future situations where the ability to information will then be provided that can be used to collaborate to solve problems is a critical measure of check your predictions. In this way, you will success. No prior knowledge of chemistry is required. simultaneously learn both the course content and Students will be able to take this course and Organic the key critical thinking skills that constitute Chemistry II (Guided Inquiry) in the spring semester scientific thought and xplore ation. After each topic and then take General Chemistry or other chemistry has been developed in class, you will be asked to courses in subsequent years. read the relevant section of the textbook and then answer a series of problems to reinforce your understanding of the material. You should consider Atoms, Molecules, and Reactions: taking this course if you enjoy highly interactive An Introduction to Physical seminars, working in small groups, and figuring out Chemistry problems yourself rather than simply listening to a Colin D. Abernethy professor while taking notes in class. Organic Open, Seminar—Fall chemistry is the study of chemical compounds In this course, we will think about the most whose molecules are based on a framework of fundamental question in chemistry: Why do chemical carbon atoms, typically in combination with reactions happen? To answer this, we will first hydrogen, oxygen, and nitrogen. Despite this rather discuss the Second Law of Thermodynamics, which limited set of elements, there are more organic determines whether any change in the universe can compounds known than there are compounds that occur. Before we can apply the Second Law of do not contain carbon. Adding to the importance of Thermodynamics to chemical systems, we will need organic chemistry is the fact that very many of the to investigate the structure of atoms and the ways in chemical compounds that make modern life which individual atoms can bond to one another to possible—such as pharmaceuticals, pesticides, form molecular structures of increasing complexity. herbicides, plastics, pigments, and dyes—can be Once we have mastered the modern, quantum classed as organic. Organic chemistry, therefore, mechanical theories of chemical bonding, we will be impacts many other scientific subjects; and able to look at different types of chemical reactions, knowledge of organic chemistry is essential for a their rates, and the ways in which chemical detailed understanding of materials science, equilibria may be established and influenced. In the environmental science, molecular biology, and laboratory section of the course, we will put these medicine. This course gives an overview of the ideas into practice: building molecules with different structures, physical properties, and reactivity of structures and then exploring their physical 24 Chemistry properties and chemical reactivity. Chemistry plays a Organic Chemistry II: A Guided pivotal role in all the natural sciences. Accordingly, Inquiry Seminar this course will be useful for any students with an interest in the physical, biological, and medicinal Colin D. Abernethy sciences and for pre-engineering students. Intermediate, Seminar—Spring This course is a continuation of Organic Chemistry I: A Guided Inquiry Seminar. This semester, we will Nutrition explore the physical and chemical properties of Mali Yin additional families of organic molecules. The Open, Seminar—Fall reactivity of aromatic compounds, aldehydes and Nutrition is the sum of all interactions between ketones, carboxylic acids and their derivatives (acid ourselves and the food that we consume. The study chlorides, acid anhydrides, esters, and amides), of nutrition includes the nature and general role of enols and enolates, and amines will all be discussed. nutrients in forming structural material, providing We will also investigate the methods by which large, energy, and helping to regulate metabolism. How do complicated molecules can be synthesized from food chemists synthesize the fat that can’t be simple starting materials. Modern methods of digested? Can this kind of fat satisfy our innate organic structural determination—such as mass appetite for fats? Are there unwanted side effects, spectrometry, 1 H and 13 C nuclear magnetic and why? What constitutes a healthy diet? What are resonance spectroscopy, and infrared the consequences of severely restricted food intake spectroscopy—will also be introduced. In the seen in a prevalent emotional disorder such as laboratory section of this course, we will continue to anorexia or bulimia? These and other questions will develop the techniques and skills required to be discussed. We will also discuss the effect of synthesize, separate, purify, and identify organic development, pregnancy, emotional state, and compounds. Organic Chemistry II is a key disease on nutritional requirements. And we will requirement for pre-med students and is strongly consider the effects of food production and encouraged for all others who are interested in the processing on nutrition value and food safety. biological and physical sciences. Prerequisite: Organic Chemistry I. Inorganic Chemistry Colin D. Abernethy Biochemistry Open, Seminar—Spring Mali Yin In this course, we will investigate the properties of Advanced, Seminar—Spring the chemical elements and some of their most Biochemistry is the chemistry of biological systems. important compounds. In so doing, we will discover This course will introduce students to the basic the trends in structure, bonding, and reactivity that principles and concepts of biochemistry. Topics will emerge as we move from one element to the next in include the structure and function of biomolecules the periodic table. Included in our survey will be such as amino acids, proteins, enzymes, nucleic discussions of the important roles that inorganic acids, RNA, DNA, and bioenergetics. This knowledge substances play in our everyday lives, particularly in will then be used to study the pathways of the fields of bioinorganic chemistry, industrial metabolism. Prerequisites: Organic Chemistry and materials, and nanotechnology. In the laboratory General Biology. section of the course, we will prepare important examples of inorganic compounds and then Other courses of interest are listed below. Full investigate their reactivity. This will involve learning descriptions of the courses may be found under the how to work with highly reactive and air-sensitive appropriate disciplines. materials using vacuum-line and glove-box techniques. Chemistry plays a pivotal role in all of Biology of Cancer (p. 20), Drew E. Cressman Biology the natural sciences. Accordingly, this course will be General Biology Series: Genes, Cells, and useful for any students with an interest in the Evolution (p. 19), Drew E. Cressman Biology physical, biological, and medicinal sciences and for Calculus I: The Study of Motion and Change (p. 96), pre-engineering students. Daniel King Mathematics Calculus II: Further Study of Motion and Change (p. 97), Daniel King Mathematics Introduction to Electromagnetism, Light, and Modern Physics (General Physics Without Calculus) (p. 115), Alejandro Satz Physics THE CURRICULUM 25 Introduction to Mechanics (General Physics Without Intermediate Chinese Calculus) (p. 115), Alejandro Satz Physics Leihua Weng Quantum Mechanics (p. 116), Alejandro Satz Physics Intermediate, Seminar—Year The Quantum World (p. 115), Alejandro Satz Physics This course is designed for students who have Eco-Poetry (p. 181), Marie Howe Writing finished one eary of Chinese or its equivalent. We will continue improving the Chinese language skills of speaking, listening, reading, and writing. An CHINESE emphasis will be place on communication and discussion in both conversational and written The Chinese program includes beginning, Chinese. By the end of the year, students will be able intermediate, and advanced courses that teach to read some newspaper articles, stories, and essays students to speak, read, write, and comprehend and hold conversations on topics of daily life that standard Chinese (Mandarin). The first-year class extend into culture, arts, and politics. focuses on oral proficiency and grammar structures and culminates in end-of-semester projects that Films and Novels in Chinese draw on the students’ interests. Reading and writing is emphasized in the second-year class, as students Leihua Weng are introduced to short stories, poetry, and film. Intermediate/Advanced, Seminar—Year Student work in class and conference is This is a language course intended for students who supplemented by weekly meetings with the have completed a second year of Chinese or its language assistant and by the lunchtime Chinese equivalent. We will continue developing Chinese Table. Extracurricular activities include visits to language proficiency but with a stronger emphasis museums and excursions to New York City’s various on transforming our language knowledge into output Chinatown neighborhoods. skills that are required for in-depth discussions on Students of Chinese are strongly encouraged to Chinese films, literature, culture, and history. Some spend a semester or, ideally, a year abroad at one of important and recurrent themes in Chinese films and several programs, such as Global Alliance, novels will be examined and discussed. Students are Middlebury College, or Associated Colleges in China. encouraged to bring into discussion their knowledge These programs offer a range of experiences at of Chinese/Western literature and culture and to different sites, including Beijing, Shanghai, conduct comparative studies on a variety of topics Hangzhou, and Xian. that include censorship, gender, and geopolitics. The Students of Chinese language are encouraged course will be conducted mostly in Chinese, but to enhance their curriculum with courses in history, some scholarly works in English might occasionally philosophy, and literature taught through the Asian be included for discussion. Studies department, as well as through religion and geography. Other courses of interest are listed below. Full descriptions of the courses may be found under the Beginning Chinese appropriate disciplines. Leihua Weng Popular Culture in China (p. 15), Ellen Neskar Asian Open, Seminar—Year Studies This course is designed for students who have no or Reading China’s Revolutions Through Fiction and little knowledge of Chinese language. In this course, Memoir (p. 16), Ellen Neskar Asian Studies we will develop four language skills (speaking, Personal Narratives: Identity and History in Modern listening, reading, and writing) through lesson China (p. 16), Kevin Landdeck Asian Studies learning and interactive communications. By the end Buddhist Meditation in East Asia (p. 140), T. Griffith of the academic year, we will be able to conduct Foulk Religion daily conversations and read short passages on a variety of topics at the level of intermediate-low. Chinese culture will also be explored and discussed. 26 Classics CLASSICS Intermediate Latin (p. 81), Samuel B. Seigle Latin Defeating Despotism: Essential Strategies From Classics course offerings at Sarah Lawrence College Ancient Greek and Roman Epic Poetry (p. 88), include Greek (Ancient) and Latin at the beginning, Emily Katz Anhalt Literature intermediate, and advanced levels, as well as Literary Visions From Antiquity to the Middle literature courses in translation. Beginning language Ages (p. 87), Gillian Adler Literature students acquire the fundamentals of Greek 17th-Century British Literature (p. 88), William (Ancient) or Latin in one year and begin reading Shullenberger Literature authentic texts. Intermediate and advanced students The Bible and Literature (p. 87), William refine their language skills while analyzing specific Shullenberger Literature ancient authors, genres, or periods. First-Year Studies: Fops, Coquettes, and the Ancient Greek and Roman insights and Masquerade: Fashioning Gender and Courtship discoveries originated Western culture and continue From Shakespeare to Austen (p. 85), James to shape the modern world. Ancient artists and Horowitz Literature writers still inspire today’s great artists and writers. Eight American Poets (Whitman to Ashbery) (p. 91), Greek and Roman ideas about politics, drama, Neil Arditi Literature history, and philosophy (to name just a few) broaden Translation Studies: Poetics, Politics, Theory, and 21st-century perspectives and challenge 21st- Practice (p. 91), Bella Brodzki Literature century assumptions. Classical languages and Ancient Philosophy (Plato) (p. 113), Michael Davis literature encourage thoughtful, substantive Philosophy participation in a global, multicultural conversation The Philosophy of Tragedy (p. 112), Michael Davis and cultivate skills necessary for coping with both Philosophy failure and success. Because it is multidisciplinary, Our World, Other Worlds (p. 174), Myra Goldberg classical literature adapts easily to students’ Writing interests and rewards interdisciplinary study. Classics courses contribute directly to the College’s unique integration of the liberal arts and creative COGNITIVE AND BRAIN SCIENCE arts, as developing writers and artists fuel their own creative energies by encountering the work of Classes from disciplines such as biology, computer ingenious and enduring predecessors. The study of science, mathematics, philosophy, and psychology the classics develops analytical reading and writing comprise the classes available within this cross- skills and imaginative abilities that are crucial to disciplinary path. individual growth and essential for citizens in any functioning society. Courses offered in related disciplines this year are listed below. Full descriptions of the courses may be Courses offered in related disciplines this year are found under the appropriate disciplines. listed below. Full descriptions of the courses may be found under the appropriate disciplines. Specters of the Subject: Hauntologies of Ghosts, Phantasms, and Imaginings in Contemporary “A Talent for Every Noble Thing”: Art, Architecture in Life (p. 7), Robert R. Desjarlais Anthropology Italy, 1300-1600 (p. 11), Joseph C. Forte Art Understanding Experience: Phenomenological History Approaches in Anthropology (p. 5), Robert R. East vs. West: Europe, the Mediterranean, and Desjarlais Anthropology Western Asia From Antiquity to the Modern General Biology Series: Genes, Cells, and Age (p. 10), David Castriota Art History Evolution (p. 19), Drew E. Cressman Biology First-Year Studies: Gods, Heroes, and Kings: Art and Neurons and the Nervous System (p. 21), Cecilia P. Myth in the Ancient World (p. 10), David Toro Biology Castriota Art History Sensory Biology (p. 20), Cecilia P. Toro Biology Intermediate/Advanced Greek: Defeating Despotism: Introduction to Genetics (p. 20), Sumaira Zamurrad Essential Strategies From Ancient Greek and Biology Roman Epic Poetry (p. 65), Emily Katz Anhalt Bio-Inspired Artificial Intelligence (p. 29), James Greek (Ancient) Marshall Computer Science Beginning Greek (p. 65), Samuel B. Seigle Greek Introduction to Computer Programming (p. 27), (Ancient) Michael Siff Computer Science Beginning Latin (p. 81), Emily Katz Anhalt Latin Introduction to Web Programming (p. 28), Michael Advanced Latin (p. 82), Samuel B. Seigle Latin Siff Computer Science THE CURRICULUM 27

An Introduction to Statistical Methods and problem. Computers are tools for executing Analysis (p. 95), Daniel King Mathematics algorithms. (Not that long ago, a “computer” First-Year Studies: The Developing Child: referred to a person who computed!) Perspectives and Contexts (p. 123), Jan Drucker What are the basic building blocks of Psychology algorithms? How do we go about finding algorithmic Challenges to Development: Child and Adolescent solutions to problems? What makes an efficient Psychopathology (p. 134), Jan Drucker algorithm in terms of the resources (time, memory, Psychology energy) that it requires? What does the efficiency of Personality Development (p. 135), Jan Drucker algorithms say about major applications of computer Psychology science such as cryptology, databases, and artificial Advanced Research Seminar (p. 133), Kim Ferguson intelligence? Computer-science courses at Sarah (Kim Johnson) , Elizabeth Johnston , Linwood J. Lawrence College are aimed at answering questions Lewis Psychology such as those. Sarah Lawrence computer-science Art and Visual Perception (p. 125), Elizabeth students also investigate how the discipline Johnston Psychology intersects other fields of study, including Anxiety, Stress, and Health (p. 125), David Sivesind mathematics, philosophy, biology, and physics. Psychology Research Seminar: 21st-Century Sleep (p. 132), First-Year Studies: Achilles, the Meghan Jablonski Psychology Tortoise, and the Mystery of the Sleep and Health: Clinical Conditions and Undecidable Wellness (p. 124), Meghan Jablonski Psychology Virtually Yours: Relating and Reality in the Digital James Marshall Age (p. 126), Meghan Jablonski Psychology Open, FYS—Year Neurodiversity and Clinical Psychology (p. 133), In this course, we will take an extended journey David Sivesind Psychology through Douglas Hofstadter's Pulitzer Prize-winning Language Development (p. 133), Barbara Schecter book, Gödel, Escher, Bach, which has been called “an Psychology entire humanistic education between the covers of a It’s Complicated: The Nature of Emotions (p. 125), single book.” The key question at the heart of the Rochelle Cassells Psychology book is: How can minds possibly arise from mere What’s in a Name? Perspectives on Poverty (p. 129), matter? Few people would claim that individual Rochelle Cassells Psychology neurons in a brain are “conscious” in anything like Color (p. 171), Gary Burnley Visual and Studio Arts the normal sense in which we experience First-Year Studies: The New Narrative consciousness. Yet self-awareness emerges, Photography (p. 165), Joel Sternfeld Visual and somehow, out of a myriad of neuronal firings and Studio Arts molecular interactions. How can individually The Ideas of Photography (p. 170), Joel Sternfeld meaningless physical events in a brain, even vast Visual and Studio Arts numbers of them, give rise to meaningful awareness, Our World, Other Worlds (p. 174), Myra Goldberg to a sense of self? And could we duplicate such a Writing process in a machine? Considering those questions will lead us to explore a wide range of ideas from the foundations of mathematics and computer science to molecular biology, art, and music—and to the COMPUTER SCIENCE research frontiers of modern-day cognitive science and neuroscience. Along the way, we will closely What is computer science? Ask 100 computer examine Gödel's incompleteness theorem, scientists, and you will likely receive 100 different mathematical logic and formal systems, the limits of answers. One possible, fairly succinct answer is that computation, and the future prospects for artificial computer science is the study of algorithms: step- intelligence. by-step procedures for accomplishing tasks formalized into very precise, atomic (indivisible) instructions. An algorithm should allow a task to be Introduction to Computer accomplished by someone who—or something Programming that—does not even understand the task. In other Michael Siff words, it is a recipe for an automated solution to a Open, Lecture—Fall This lecture presents a rigorous introduction to computer science and the art of computer 28 Computer Science programming, using the elegant, eminently of clearly written, well-structured code. We will practical, yet easy-to-learn programming language cover variables, conditionals, loops, functions, Python. We will learn the principles of problem recursion, arrays, objects, JSON notation, and event solving with a computer while gaining the handling. We will also discuss how JavaScript programming skills necessary for further study in communicates with HyperText Markup Language the discipline. We will emphasize the power of (HTML) via the Document Object Model (DOM) and abstraction, the theory of algorithms, and the the relationship of HTML, JavaScript, and Cascading benefits of clearly written, well-structured Style Sheets (CSS). Along the way, we will discuss the programs. Fundamental topics include: how history of the Web, the challenge of establishing computers represent and manipulate numbers, text standards, and the evolution of tools and techniques and other data (such as images and sound); that drive the Web’s success. We will learn about variables and symbolic abstraction; Boolean logic; client-server architectures and the differences conditional, iterative, and recursive computation; between client-side and server-side Web functional abstraction (“black boxes”); and standard programming. We will consider when it makes sense data structures such as arrays, lists, and to design from the ground up and when it might be dictionaries. We will learn introductory computer more prudent to make use of existing libraries and graphics and how to process simple user frameworks rather than reinvent the wheel. We will interactions via mouse and keyboard. We will also also discuss the aesthetics of Web design: Why are consider the role of randomness in otherwise some pages elegant (even art) when others are loud, deterministic computation, basic sorting and awkward to use, or—worse yet—boring. Weekly searching algorithms, how programs can hands-on laboratory sessions will reinforce the communicate across networks, and some principles programming concepts covered in lecture. No prior of game design. Toward the end of the semester, we experience with programming or Web design is will investigate somewhat larger programming necessary (nor expected nor even desirable). projects and so will discuss file processing; modules and data abstraction; and object-oriented concepts Privacy, Technology, and the Law such as classes, methods, and inheritance. As we proceed, we will debate the relative merits of writing Michael Siff programs from scratch versus leveraging existing Open, Seminar—Fall libraries of code. Discussion topics will also include What do digital currency, self-driving vehicles, and the distinction between decidable and tractable Edward Snowden have in common? The answer lies problems, the relationship between programming in this course, which focuses on how a few very and artificial intelligence, the importance of specific omputc er technologies are dramatically algorithmic efficiency to computer security, and altering daily life. In lecture, we will develop a series Moore’s Law and its impact on the evolution of of core principles that explain the rapid change and programming languages and programming style. help us chart a reasoned path to the future. We begin Weekly hands-on laboratory sessions will reinforce with a brief history of privacy, private property, and the programming concepts covered in class. privacy law. Two examples of early 20th-century technologies that required legal thinking to evolve are: 1) whether a pilot (and passengers) of a plane Introduction to Web Programming are trespassing when the plane flies vo er someone's Michael Siff backyard; and, 2) whether the police can listen to a Open, Lecture—Spring phone call from a phone booth (remember those?) This lecture introduces the fundamental principles without a warrant. Quickly, we will arrive at the age of computer science via the creation of interactive of information and can update those conundrums to, Web pages. We will focus on the core triumvirate of for example: a drone flies yb with an infrared Web technologies: HTML for content, CSS for layout, camera, a copyrighted video is viewed on YouTube and—most important for us—JavaScript for via public WiFi, a hateful comment is posted on interactivity. Examples of the kinds of Web reddit, a playful tweet is taken out of context and applications that we will build include a virtual art goes viral for all to see, an illicit transaction gallery; a password generator and validator; and an involving Bitcoin is made between seemingly old-school, arcade-style game. We will learn anonymous parties via Venmo. To get a better handle programming from the ground up and demonstrate on the problem, we will consider the central irony of how it can be used as a general-purpose, problem- the Internet. It was developed at the height of the solving tool. Throughout the course, we will Cold War as a way to maintain a robust emphasize the power of abstraction and the benefits communication system in the event of a nuclear THE CURRICULUM 29 attack. Now, its open nature puts us at risk of 21st- expanding its power in a step-by-step fashion. Along century security threats such as electronic the way, we will become acquainted with the lambda surveillance, aggregation and mining of personal calculus (the basis of modern programming information, and cyberterrorism. We will contrast language theory), scoping mechanisms, doomsday myths popularized by movies such as War continuations, lazy evaluation, nondeterministic Games with more mundane scenarios such as total programming, and other topics if time permits. We disruption of electronic commerce. Along the way, will use Scheme as our "meta-language" for we will address questions such as: Does modern exploring those issues in a precise, analytical technology allow people to communicate secretly way—similar to the way in which mathematics is and anonymously? Can a few individuals disable the used to describe phenomena in the natural sciences. entire Internet? Can hackers launch missiles or Our great advantage over mathematics, however, is uncover blueprints for nuclear power plants from that we can test our ideas about languages, remote computers on the other side of the world? expressed in the form of interpreters, by directly We will also investigate other computer-security executing them on the computer. No prior knowledge issues, including spam, computer viruses, and of Scheme is needed, but at least one semester of identity theft. Meanwhile, with our reliance on smart prior programming experience is expected. phones, text messages, and electronic mail, have we unwittingly signed ourselves up to live in an Bio-Inspired Artificial Intelligence Orwellian society? Or can other technologies keep 1984 at bay? Our goal is to investigate if and how James Marshall society can strike a balance so as to achieve Intermediate, Seminar—Spring computer security without substantially curtailing The field of artificial intelligence (AI) is concerned rights to free speech and privacy. Along the way, we with reproducing in computers the abilities of will introduce the science of networks and describe human intelligence. In recent years, exciting new the underlying theories that makes the Internet and approaches to AI have been developed—inspired by its related technologies at once tremendously a wide variety of biological processes and structures successful and so challenging to regulate. A that are capable of self-organization, adaptation, substantial portion of the course will be devoted to and learning. Examples of those new approaches introductory cryptology—the science (and art) of include evolutionary computation, artificial neural encoding and decoding information to enable private networks, autonomous robots, and swarm communication. We will conclude with a discussion intelligence. This course will provide a hands-on of how cutting-edge technologies, such as introduction to the algorithms and techniques of blockchains, are impacting commerce today and biologically-inspired AI—focusing primarily on how quantum cryptography and quantum computing genetic algorithms, neural networks, deep learning, may impact the privacy of communications reinforcement learning, and robotics—from both a tomorrow. theoretical and practical perspective. We will use the Python programming language to implement and experiment with those techniques in detail and test Principles of Programming them out using both simulated and real robots. Languages Students will have many opportunities for extended James Marshall exploration through open-ended, hands-on, lab Intermediate, Seminar—Fall exercises and conference work. At least one This course explores the principles of programming- semester of prior programming experience is language design through the study and expected. Students should be very comfortable implementation of computer programs called programming in a high-level, object-oriented interpreters, which are programs that process other language such as Python, Java, or C++. programs as input. A famous computer scientist once remarked that if you don't understand Databases interpreters, you can still write programs—and you Michael Siff can even be a competent programmer—but you Intermediate, Seminar—Spring can’t be a master. We will begin by studying A modern database system is a collection of functional programming, using the strangely interrelated facts recorded on digital media and a beautiful and recursive programming language set of computer programs that efficiently cac ess Scheme. After getting comfortable with Scheme and those facts. In the 21st century, databases have recursion, we will develop an interpreter for a become ubiquitous via the Web and {cloud Scheme-like language of our own design, gradually computing” to the point that users may not even 30 Dance realize where their data is stored, how it is accessed, Time to Tinker (p. 115), Merideth Frey Physics and who has access to it. This course attempts to 3D Modeling (p. 169), Shamus Clisset Visual and shed light on why and how our society has become Studio Arts so dependent on information processing by Introduction to Digital Imaging (p. 168), Shamus examining software (and, to a lesser extent, Clisset Visual and Studio Arts hardware) techniques that lead to the efficient storage and retrieval of information. We will illustrate core principles by designing databases using open-source platforms (such as PostgreSQL, DANCE SQLite and MySQL) and designing websites to The Sarah Lawrence College dance program presents manipulate those databases using client-side undergraduate students with an inclusive technologies (such as HTML, CSS, JavaScript and a bit curriculum that exposes them to vital aspects of of AJAX) and server-side programming languages dance through physical, creative, and analytical (such as PHP, Python and Node.js). Major topics practices. Students are encouraged to study broadly, include relational database design, query languages widen their definitions of dance and performance, (e.g., SQL, its relatives, and lower-level embedded and engage in explorations of form and function. query languages), the object-relational model, ACID Basic principles of functional anatomy are at properties, and the client-server paradigm. We will the heart of the program, which offers classes in also consider how the era of big data has challenged modern and postmodern contemporary styles, the supremacy of the ACID/SQL model and given rise classical ballet, yoga, Feldenkrais: Awareness to NoSQL database systems such as MongoDB, Through Movement®, and African dance. Cassandra, and Neo4J. Each student will be Composition, improvisation, contact improvisation, responsible for designing and implementing a Web- Laban motif, dance history, music for dancers, dance accessible database application of their own and media, teaching conference, classical Indian choosing, using open-source database software and dance, lighting design/stagecraft, and performance a Web-application programming language such as projects with visiting artists round out the program. Node, PHP, Python, or Ruby. Students will work on Each student creates an individual program and their projects throughout the course and will meets with advisers to discuss overall objectives and demonstrate them to rest of the class at the close of progress. A yearlong series of coordinated the semester. In addition to regular reading component courses, including a daily physical assignments, there will be several problem sets and practice, constitute a Dance Third. In addition, all short programming assignments. There will also be a students taking a Dance Third participate at least more substantial programming assignment used to once each semester in movement training sessions illustrate issues pertaining to the practical to address their individual needs with regard to implementation of database systems. Example strength, flexibility, alignment, and coordination, as conference topics include data mining, database well as to set short- and long-term training goals. privacy and access control, geographic information A variety of performing opportunities for systems (GIS), logic databases, and the undergraduate and graduate students are available implementation of a miniature database system. in both informal and formal settings. Although Permission of the instructor is required. Students projects with guest choreographers are frequent, it should have at least one semester of programming is the students’ own creative work that is the center experience. of their dance experience at the College. In order to support the performance aspect of the program, all Other courses of interest are listed below. Full students are expected to participate in the technical descriptions of the courses may be found under the aspects of producing concerts. appropriate disciplines. We encourage the interplay of theatre, music, Calculus I: The Study of Motion and Change (p. 96), visual arts, and dance. Music Thirds and Theatre Daniel King Mathematics Thirds may take dance components with the Calculus II: Further Study of Motion and permission of the appropriate faculty. Change (p. 97), Daniel King Mathematics In the interest of protecting the well-being of Game Theory: The Study of Conflict and our students, the dance program reserves the right, Strategy (p. 96), Daniel King Mathematics at our discretion, to require any student to be Discrete Mathematics: A Bridge to Advanced evaluated by Health Services. Mathematics (p. 98), Philip Ording Prospective and admitted students are Mathematics welcome to observe classes. THE CURRICULUM 31 First-Year Studies: Cultivating study, including dance and performance, gardening Creativity in Dance, Gardening, and farming, cultural studies, and service learning. Weekly donning conferences support all phases of and Food Justice: A First-Year students’ academic endeavors. Weekly FYS garden Studies Community Partnership sessions, in partnership with Douglass DeCandia, Peggy Gould Food Growing Project Coordinator for the Food Bank Open, FYS—Year for Westchester, will provide opportunities to engage Where can dancing and dance-making flourish? How in service learning and social justice practice can we cultivate deep and enduring practices as literally from the ground up. In these sessions, we dance artists, scholars, and active community will work alongside local community members (site members? What can we learn about dance in the staff, residents, and volunteers), building process of gardening, which has been described by connections through planting, harvesting, and landscape architects as the slowest of the processing produce for distribution to local hunger performing arts? In this interdisciplinary FYS course, relief programs. First-Year Studies in Dance is we will begin to make connections between the primarily practice-based, with most of our work fundamental aspects of the Sarah Lawrence College occurring in the studio. While there is some reading dance program and the practical experience of and writing required in analytic components, it is related disciplines that foster similar values. The scaled in proportion to the demands of movement- discipline of dance cultivates and stimulates the centered pursuits. acquisition of technique, creativity, and theoretical inquiry and thrives with consistent practice. The Dance Movement Fundamentals multiple phases of growing and harvesting in the garden, from conceptual to practical, provide a Peggy Gould unique mirror to dance as an art form, while Component—Year emphasizing attentive care of our planet and care Movement and dancing are definitive signs of life! In for ourselves through the cultivation of food- and every environment and at every level of existence, community-based work. We will have two weekly from single-cell organisms to entire populations, First-Year Studies in Dance class sessions (one in the dancing is innate to living beings. The objective here dance studio and one in the garden, see below), is to awaken/reawaken students’ connection to along with component classes in improvisation, movement as an elemental mode of human dance history, and movement practices that include experience and learning. Students are introduced to African Diasporic Dance, Contemporary Practice, some basic principles of dancing, as well as to Ballet, Hip Hop, Contact Improvisation, and strategies for preparing for dancing. Building Bharatanatyam. Students of all experience levels, fundamental skills for a wide range of movement from beginning to advanced, are welcome! During studies, the focus is centered on learning movement registration, each student will be guided in and refining individual, partnered, and group arranging an individualized schedule of component performance in a variety of patterns and styles. classes tailored to his/her level and designed to Basic anatomical information is used to facilitate an support the ongoing development of skills in various understanding of dynamic alignment and movement aspects of dance as an art form. Students should potentials. Challenges in coordination, rhythm, expect to be dancing on a daily basis. All students in range, and dynamic quality are systematically the dance program may elect to perform in our engaged, allowing students to gain strength, departmental productions. These include Open flexibility, endurance, balance, musicality, and Performance each semester, where any SLC student awareness in the dance setting. While the primary may present his/her own choreography, and Winter emphasis is placed on learning structured material, Performance, MFA Thesis Performance, and Spring improvisation and composition are incorporated to Performance, with works choreographed by graduate support students’ growing engagement with dance and upperclass undergraduate students in the Dance as an art form. Students who have successfully Making class. Our weekly FYS class session in the completed this course will be prepared to enter studio will be devoted to creating a collective Contemporary Practice I and/or Ballet I. This class is performance piece informed and inspired by our open to all interested participants, with no prior experiences over the course of the year, as well as to experience in dance required. discussing class readings, presenting individual research and writing, and reflecting on xperience es in the garden with community partners. Class readings will draw on texts from several fields of 32 Dance Modern and Postmodern Practice Ballet John Jasperse, Stuart Shugg , Jennifer Nugent, Efeya Barbara Forbes, Merceditas Mañago-Alexander Ifadayo M Sampson, Paul Singh, Jodi Melnick Component—Year Component—Year Ballet students at all levels will be guided toward In these classes, emphasis will be on the continued creative and expressive freedom in their dancing, development of basic skills, energy use, strength, enhancing the qualities of ease, grace, musicality, and control relevant to the particular style of each and symmetry that define this orm.f We will explore teacher. At all levels, attention will be given to alignment, with an emphasis on anatomical sharpening each student’s awareness of time and principles; we will cultivate awareness of how to energy and to disciplining the body to move enlist the appropriate neuromuscular effort for rhythmically, precisely, and in accordance with efficient vmo ement; and we will coordinate all sound anatomical principles. Intermediate and aspects of body, mind, and spirit, integrating them advanced students will study more complex harmoniously. Students may enter this yearlong movement patterns, investigate somatic use, and course in the second semester only with permission concentrate on the demands of performance. of the instructor.

Dance Practice Conference Rotating Guest Artist Lab Sasha Welsh, Eleanor Hullihan Abby Zbikowski, Dean Moss, Netta Yerushalmy, Sarah Component—Year Michelson, David Thomson Students taking Dance Thirds will meet with the Component—Year instructor for this component course at least once This course is an experimental laboratory that aims per semester to address individual dance training to expose students to a diverse set of current voices issues and questions and to identify short- and long- and approaches to contemporary dance making. term goals. Guided by discussion, we will develop Each guest artist will lead a module of between practical strategies to address issues and questions three and seven class sessions. These mini- in the context of achieving goals by means of workshops will introduce students to that artist and specific supplemental exercises that address his/her creative process. Guests will represent strength, flexibility, kinesthetic awareness, emergent, as well as established, practices. coordination, and effective approaches to learning. This course is designed to support and enhance Butoh Practices and Beyond students’ work in dance classes, rehearsals, and performances. Mina Nishimura Component—Spring In this class, we will engage in a series of somatic, African Diasporic Dance improvisational movement and vocalization Efeya Ifadayo M Sampson, Lacina Coulibaly practices that reflect principals of butoh, Zen, and Component—Year Noguchi Taiso (or water body movements). Through This yearlong course will use physical embodiment engaging in those practices, we will explore a way to as a mode of learning about and understanding liberate our body from a sense of self and from African diasporic cultures. In addition to physical existing concepts of a body in order to realize an practice, master classes led by artists and teachers unprecedented transformation and evolution of the regarded as masters in the field of African diasporic body. We will be descending a ladder into a well that dance and music, along with supplementary study is hidden deep inside the body and will keep digging materials, will be used to explore the breadth, the well until the water splashes out. We will also diversity, history, and technique of dances derivative examine specific images used in butoh scores (e.g., of the Africa diaspora. Afro Haitian, West African, throw up something red and something blue, being Orisha dances (Lucumi, Afro Cuban), and social jealous of dog’s vein, stick to salmon’s face like a dance are some genres that will be explored. psycho…) to explore and cultivate more profound Participation in year-end showings will provide and active relationships between “images” and students with the opportunity to apply studies in a “movements.” This class is open to dance, theatre, performative context. Students may enter this and any other students who are curious and yearlong course in the second semester only with interested in discovering alternative approaches to permission of the instructor. body and movement practices. THE CURRICULUM 33 Hip Hop course will introduce students to narrative technique, or abinaya, as well as other classical Matthew Lopez Indian dance forms. Throughout the semester, we Component—Fall will also have opportunities to reflect on the This class is an open-level class in hip-hop dance. It differences and similarities that we note in relation will include elements of breaking, popping, and to our experience with the practice of Western dance locking, etc. Class will begin with a warmup, leading forms. to a high-energy combination. While this class is intended for students with some previous dance experience, no prior experience in hip hop or street Beginning Improvisation dance is required. Sara Rudner Component—Year Vogue Merge your imagination and movement potential through dance improvisation. This invaluable Ousmane Wiles creative mode offers students the opportunity to Component—Spring recognize and develop sensations, ideas, and visions This class is an introduction to the dance form of of dancing possibilities. Internal and external voguing, an art form of poses and beat-to-beat perceptions will be honed while looking at synchronization. Coming from the gay black and movement from many points of view—as an Latino ballroom community, this style expressed the individual and in partnership with others. This class feminism and fierce attitude within Vogue Fem. is an entry into the creative trajectory that later Students will learn the five elements of Vogue Fem: leads to composition and dance making. Catwalk, Duckwalk, Floor Performance, Spin and Dips, and Hand Performance. Dance and Music Improvisation Yoga Kathy Westwater, John Yannelli Component—Fall Patti Bradshaw This class explores a variety of musical and dance Component—Year styles and techniques, including free improvisation, This asana yoga class is designed with dancers and chance-based methods, conducting, and scoring. We theatre students’ interests in mind. Various will collaboratively innovate practices and build categories of postures will be practiced with scores that extend our understanding of how the attention to alignment, breath awareness, strength, mediums of dance and music relate both to and with and flexibility. Emphasis is placed on mindfulness one another. How the body makes sound and how and presence, an approach that allows students to sound moves will serve as entry points for our gain tools for reducing stress and addressing other individual and group experimentation. Scores will be unsupportive habits to carry into other aspects of explored with an eye toward their performing their lives. The instructor has a background in dance potential. The ensemble is open to composer- and theatre, in addition to various somatically-based performers, dancers, performance artists, and practices that she draws upon for designing the actors. Music students must be able to demonstrate classes to meet the needs of the class members. proficiency in their chosen instrument. All This class draws upon an alignment-oriented instruments (acoustic and electric), voice, electronic practice, as opposed to a vinyasa style of yoga. synthesizers, and laptop computers are welcome. Additionally, this class introduces various Permission of the instructors is required. awareness-building practices borrowed from other body-oriented approaches. Somatics, Improvisations, and the Bharatanatyam: Classical Indian Poetics of Dance Dance K. J. Holmes Component—Fall Ramya Ramnarayan We will be exploring movement, dance, and imagery Component—Fall through the research of Body-Mind Centering®, In this class, we will learn the principles and Ideokinesis, contact improvisation/s, and structures practices of Bharatanatyam, including the adavu, or and scores for improvising and composing dances. rhythmic unit involving movements; hasta, or hand We will make the invisible visible, learning more gestures; bedas, movements of major, minor and about the interior of the body and our ideas, and subsidiary limbs; or use of the limbs of the body. The explore pathways to space, time, and place as we 34 Dance also learn basic anatomy and physiology to better direct individual choreographic projects. Students understand the mechanics of movement. Writing in and faculty will meet weekly to view works-in- class and reading philosophical/somatic/poetic progress and, in conferences taking place the writings will be used to render qualities, textures, following afternoon, discuss relevant artistic and thought processes, and movement analysis toward practical problems. Music, costumes, lighting, and creative expression, performance, and healing other elements will be discussed as integral and modalities. interdependent elements in the choreographic work. This will culminate in performances of the works Contact Improvisation toward the end of the semester in the Winter Performance and Spring Performance programs. Kathy Westwater Performances will take place in the Bessie Component—Year Schönberg Dance Theatre or elsewhere on campus in This course will examine the underlying principles of the case of site-specific orkw . Prerequisites: Dance an improvisatory form, predicated on two or more Composition, Lighting Design and Stagecraft for bodies coming into physical contact. Contact Dance, and permission of the instructor. improvisation, which emerged in the 1960s and ’70s out of the Judson Experimental Dance Theatre, combines aspects of social and theatrical dance, Introduction to Dance History bodywork, gymnastics, and martial arts. We will Charmian Wells explore movement practices that enhance our Component—Year sensory awareness, with an emphasis on action and This course explores the history of Western physical risk-taking. Contemporary partnering skills, theatrical dance from the courts of Louis XIV to the such as taking and giving weight and finding a present. The course offers an overview of key artistic common “center,” will provide a basis for further movements and traces the development of major exploration. We will explore locating the dance form forms and genres, considering them within their in varying contexts—from the round-robin to the social, cultural, racial, and gendered contexts. jam, from scores to choreography, and from studio Through class screenings, attendance at live and theatre to site-based environments. performances, and written assignments, students will learn methods of observation, analysis, Composition interpretation, and evaluation informed by a broad understanding of dance’s past and present and how Sara Rudner, Beth Gill it relates to their own research and practice. This Component—Year course is for all students beginning the dance Movement and creativity are the birthrights of every program. human being. This component will explore expressive and communicative movement possibilities by introducing different strategies for making dances. Advanced Dance History: Topics in Problems posed run the gamut from conceptually- 20th-Century Dance and driven dance/theatre to structured movement Performance History improvisations. Learn to access and mold kinetic Kyle Bukhari vocabularies collaboratively, or individually, and Component—Spring incorporate music, sound, gesture, text, and objects This writing-focused graduate seminar examines in pursuit of a vision. Students will be asked to 20th-century dance history from a variety of critical create and perform studies, direct one another, and perspectives, such as collaboration and intermedial share and discuss ideas and solutions with peers. aesthetics; transdisciplinary and experimental Students are not required to make finished products performance practices; gender, race, and sexuality; but, rather, to involve themselves in the challenges site-specific orkw ; and technology and screendance. and joys of rigorous play. Students will have the opportunity to deepen their expertise of the subject and exercise their own Dance Making critical and scholarly voices by unsettling and John Jasperse, Dean Moss, Juliana F. May, John questioning the Western theatrical dance canon Yannelli, William Catanzaro from a robustly informed historical, social, Component—Year technological, and aesthetic point of view. In this class, graduates and upperclass Undergraduate students may take this course with undergraduates with a special interest and permission of the instructor. experience in dance composition will design and THE CURRICULUM 35 Anatomy in Action Lighting Design and Stagecraft for Sasha Welsh, Peggy Gould Dance Component—Year Kathy Kaufmann How is it possible for humans to move in the Component—Year multitude of ways that we do? Learn to develop your The art and practice of illuminating dance is the X-ray vision of human beings in motion through subject of this component. We will examine the functional anatomical study that combines theoretical and practical aspects of designing lights movement practice, drawing, lecture, and problem for dance. Emphasis will be on learning basic lighting solving. In this course, movement is a powerful skills and stagecraft. Students will create original vehicle for experiencing, in detail, our profoundly lighting designs for dance-program performances. adaptable musculoskeletal anatomy. Facilitating our This class is a prerequisite for Dance Making. study of the entire musculoskeletal system, we will learn Irene Dowd’s Spirals™, a comprehensive warm- up/cool-down for dancing that coordinates all joints Dance Meeting and muscles through their fullest range of motion. In Component—Year addition to movement practice, drawings will be part This is a twice-monthly meeting of all Dance Thirds of each week’s lecture. (Drawing materials will be (undergraduate and graduate students) in which we provided.) Insights and skills developed in this gather for a variety of activities that enrich and course can provide tremendous inspiration in the inform the dance curriculum. In addition to sharing process of movement invention and composition. department news and information, Dance Meeting Students who wish to join this yearlong class in the features master classes by guest artists from New second semester may do so only with the permission York City and beyond, workshops with practitioners of the instructor. in dance-related health fields, panels and presentations by Sarah Lawrence College dance faculty and alumnae, and casting sessions for Making It Work departmental concerts created by the Dance Making Cathy Zimmerman class. In 2017-18, guest artists included Cori Component—Spring Olinghouse/clowning therapy; Dean Moss/ In this semester-long course for students completing choreography; Eleanor Hullihan/dancers’ health; their studies at the College, we will examine and Omari Mizrahi/voguing; Nathara Bailey/workshop on hone the tools needed for propelling your creative Inclusion, Identity, and anti-oppression; and Petra work into the professional landscape. Taught from Kuppers/disability culture movement. an active artist/artist manager perspective, the course will attempt to achieve fluency for all makers by providing practical encounters with key areas of Feldenkrais: Awareness Through budgeting and finance, fundraising and grant Movement® writing, presenting and touring, and self-producing Barbara Forbes components (including marketing, press, audience Component—Fall development and engagement strategies, digital and Moshe Feldenkrais believed that rigidity—physical, social interactions, and production administration). mental, or emotional—is contrary to the laws of life. We will explore various dance and theatre financial His system of somatic education develops models, from being an independent solo artist to awareness, coordination, and flexibility, as students starting your own ensemble. The class will be are verbally guided through precisely structured participatory, asking each student to craft project movement explorations. The lessons are done lying descriptions, grant narratives, and budgets for their on the floor, sitting, or standing and gradually thesis projects or other works shown in the previous increase in range and complexity. Students practice semester or first eary . We will develop and stage bringing their full attention to their experience, self- mock applications and peer/panel reviews for real- generating the learning that will release habitual world funding opportunities, undertake group patterns and offer new options. Enhanced budgeting for productions that occur in each integration of the entire nervous system cultivates department, and develop concurrent fundraising the capacity for spontaneous, effortless movement plans and crowdsourcing campaigns. The aim of this and powerful action in life. course is to provide a greater level of competitive preparedness for graduating theatre and dance makers on the cusp of representing themselves and their work in their chosen field(s). 36 Dance Conditioning for Dancers Indian tabla, traditional traps, and more. Students will also be able to program and execute electronic Eleanor Hullihan drums, such as the Wavedrum and Handsonic. The Component—Spring focus will be prevalent toward enhancing a dancer's This course provides students with a weekly full knowledge of music but also will expand the opportunity to explore and practice supplemental vocabulary for choreographers, actors, and training strategies to support the development of composers as well. The course will grant students specialized skills required in dancing. Building on the tools needed to fully immerse themselves in the work done once or twice per semester in the Dance understanding of the relation of music, dance, and Practice Conferences, training issues such as the performing arts. Students will expand their strength, endurance, flexibility, kinesthetic knowledge of terminology and execution and will be awareness, and coordination will be addressed from able to learn the basic rudiments of notation. We will a neuromuscular training approach based on the analyze the interaction of music from intellectual teachings and selected choreographies of Irene and cultural points of view. We will learn how to scan Dowd. In addition, students will be introduced to the musical scores with various degrees of complexity Alexander Technique, which aims to refine and and explore the diverse rhythmic styles that have optimize function by eliminating excessive tension. developed through time and through different This is accomplished through specific xe ercises and geographical and social conditions. Classes will practices designed to increase awareness, consist of group playing. All instruments will be implement conscious direction, and achieve gentle provided and will also be available for practice. repatterning of postural and movement habits. Open to all students taking a Dance Third. Performance Project Teaching Conference Kota Yamazaki Component—Fall Peggy Gould, Jennifer Nugent Our body is a black hole that equally absorbs Component—Year everything, even seemingly unrelated things. A In this practice-based course, students develop skills thousand different events are simultaneously to bring their artistry into a teaching setting. happening and being processed in the body. Subtle Readings, discussion, and short written pieces will nuances and expressions of external spaces affect support an exploration of perspectives on teaching the way we stand, skin sensations and perceptions and development of individual areas of interest. evoke kaleidoscopic internal landscapes, and Following current practices in the field orf bringing abstracted information delivered through feelers on together arts and education, we will study methods our feet suddenly trigger unexpected emotions. for artists to partner with educators and implement Performance Project examines our body’s new those methods in a weekly class for children enrolled beginning and encounter with everything in the in Sarah Lawrence College’s acclaimed Early black hole-like space where both the conscious and Childhood Center (ECC). In addition to our work with unconscious mind and internal and external ECC, there are several options for students interested experiences are being stirred. The class will include in an expanded practical curriculum. The College’s a short warmup, somatic and movement practices Campbell Sports Center offers opportunities for informed by butoh and various other movement students to initiate and lead physical education forms, followed at the end of the semester by classes; and the College’s Office of Community rehearsals that lead to a fully produced performance Partnerships can assist students in pursuing of the work. teaching initiatives in surrounding communities, including Yonkers, Greater Westchester, and other New York City Metropolitan areas. Performance Project Sara Rudner Music for Dancers: The Logic Component—Spring Behind Interaction In celebration of Sara Rudner’s extraordinary creative output, her visionary role in leading the William Catanzaro dance program at Sarah Lawrence College from Component—Spring 1999-2016, and her retirement from the College in This course will provide students with an opportunity May 2019, the Spring 2019 Performance Project will to play a full array of percussion instruments from be dedicated to and directed by Sara Rudner. This around the globe: African djembes, Brazilian zurdos, project will be a reworking of Sara Rudner’s dance, Argentinean bombo, Peruvian cajon and quijada, choreographic, and performance practices and will THE CURRICULUM 37 be designed for, and with, Sarah Lawrence students. Food, Agriculture, Environment, and The project is conceived as a series of dances and Development (p. 61), Joshua Muldavin will include highly-structured activities, as well as Geography improvisations. The creativity and commitment of all Introduction to Development Studies: The Political participants is required. Let’s dance! This project is Ecology of Development (p. 62), Joshua generously supported by the Barbara Bray Ketchum Muldavin Geography Artist-in-Residence Fund. An Introduction to Statistical Methods and Analysis (p. 95), Daniel King Mathematics Other courses of interest are listed below. Full First-Year Studies: Imperialism, Resistance, descriptions of the courses may be found under the Development, Intervention: African States in appropriate disciplines. the International System (p. 118), Elke Zuern Politics The Blues Ethos and Jazz Aesthetics: A History of State Terror and Terrorism (p. 120), Elke Zuern African Americans in the City (p. 73), Komozi Politics Woodard History Research Seminar: 21st-Century Sleep (p. 132), Theatre in America I: The Golden Age (p. 89), Joseph Meghan Jablonski Psychology Lauinger Literature Sleep and Health: Clinical Conditions and Theatre in America II: The Age of Revolt (p. 90), Wellness (p. 124), Meghan Jablonski Psychology Joseph Lauinger Literature Virtually Yours: Relating and Reality in the Digital First-Year Studies: The New Elements: Mathematics Age (p. 126), Meghan Jablonski Psychology and the Arts (p. 95), Philip Ording Mathematics Neurodiversity and Clinical Psychology (p. 133), First-Year Studies: The Senses: Art and David Sivesind Psychology Science (p. 124), Elizabeth Johnston Psychology Marx and Marxisms: Lineages and Contemporary Relevance (p. 147), Shahnaz Rouse Sociology Color (p. 171), Gary Burnley Visual and Studio Arts DEVELOPMENT STUDIES First-Year Studies: The New Narrative Photography (p. 165), Joel Sternfeld Visual and Classes from disciplines such as anthropology, Studio Arts economics, environmental studies, geography, The Ideas of Photography (p. 170), Joel Sternfeld history, politics, public policy, sociology, and writing Visual and Studio Arts comprise the classes available within this cross- disciplinary path.

Courses offered in related disciplines this year are ECONOMICS listed below. Full descriptions of the courses may be At Sarah Lawrence College, economics is not taught found under the appropriate disciplines. as a set of techniques for working in a static field Understanding Experience: Phenomenological but, rather, as an evolving discipline. In the liberal Approaches in Anthropology (p. 5), Robert R. arts tradition, Sarah Lawrence students approach Desjarlais Anthropology the study of economics by addressing issues in Political Economy of Women (p. 38), Kim Christensen historical, political, and cultural context. They Economics analyze and evaluate multiple schools of thought as Legal Analysis of Business History: Corporate they relate to actual situations, exploring from an Governance, Democracy, and Economic economic perspective topics such as globalization, Transformation (p. 40), Jamee K. Moudud growth and social policy, inequality, capitalism, and Economics the environment. Students who have focused on Econometric Analysis: Structural Explorations in the economics have gone on to become union organizers, Social Sciences (p. 38), Jamee K. Moudud join the Peace Corps, intern with United Nations Economics agencies, go to law school, and enter graduate Microeconomic Theory and Policy: Advanced programs in public policy and international Topics (p. 40), Jamee K. Moudud Economics development. Resource Economics and Political Ecology (p. 39), John Casey Nicolarsen Economics Introduction to Property: Cultural and Environmental Perspectives (p. 42), Charles Zerner Environmental Studies 38 Economics Political Economy of Women Econometric Analysis: Structural Kim Christensen Explorations in the Social Sciences Open, Lecture—Year Jamee K. Moudud What factors determine the status of women in Open, Lecture—Year different societies and communities? What role is The course is designed for all students interested in played by women’s labor, both inside and outside the the social sciences who wish to understand the home? By cultural norms regarding sexuality and methodology and techniques involved in the reproduction? By religious traditions? After a brief estimation of structural relationships between theoretical grounding, this course will address these variables. The course is intended for students who questions by examining the economic, political, wish to be able to carry out empirical work in their social, and cultural histories of women in the various particular field, both at Sarah Lawrence College and racial/ethnic and class groupings that make up the beyond, and critically engage empirical work done by United States. Topics to be explored include: the role academic or professional social scientists. The of women in the Iroquois Confederation before white practical hands-on approach taken in this course colonization and the factors that gave Iroquois will be useful to those students who wish to do women significant political and social power in their future conference projects in the social (or natural) communities; the status of white colonist women in sciences with significant empirical content. It will Puritan Massachusetts and the economic, religious also be invaluable for students who are seeking and other factors that led to the Salem witchcraft internships, planning to enter the job market, or trials of 1692; the position of African American desiring to pursue graduate education in the social women under slavery, including the gendered and sciences and public policy. After taking this course, racialized divisions of labor and reproduction; the students will be able to analyze questions such as growth of competitive capitalism in the North and the following: What is the relationship between the development of the “cult of true womanhood” in slavery and the development of capitalist the rising middle class; the economic and political industrialization in the United States? What effects changes that accompanied the Civil War and do race, gender, and educational attainment have in Reconstruction and the complex relationships the determination of wages? How does the female between African American and white women in the literacy rate affect the child mortality rate? How can abolitionist and women’s rights movements; the one model the effect of economic growth on carbon- creation of a landless agricultural labor force and dioxide emissions? What is the relationship among the attempts to assimilate Chicana women into the sociopolitical instability, inequality, and economic dominant culture via “Americanization” programs; growth? How do geographic location and state the conditions that encouraged Asian women’s spending affect average public-school teacher immigration and their economic and social positions salaries? How do socioeconomic factors determine once here; the American labor movement and the the crime rate in the United States? During the complicated role that organized labor has played in course of the year, we will study all of these the lives of women of various racial/ethnic groups questions. In the first semester, we will cover the and classes; the impact of US colonial policies on theoretical and applied statistical principles that Puerto Rican migration and Puerto Rican women’s underlie Ordinary Least Squares (OLS) regression economic and political status on both the island and techniques. We will begin with the assumptions the mainland; the economic/political convulsions of needed to obtain the Best Linear Unbiased Estimates the 20th century—from the trusts of the early 1900s of a regression equation, also known as the “BLUE” to World War II—and their impact on women’s paid conditions. Particular emphasis will be placed on the and unpaid labor; the impact of changes in gendered assumptions regarding the distribution of a model’s economic roles on LGBT communities; the economic error term and other BLUE conditions. We will also and political upheavals of the 1960s that led to the cover hypothesis testing, sample selection, and the so-called “second wave” of the women’s movement; critical role of the t- and F-statistic in determining the gendered and racialized impact of the Great the statistical significance of a social metric model Recession and its aftermath; the current position of and its associated slope or “β” parameters. Further, women in the US economy and polity and the we will address the three main problems associated possibilities for inclusive public policies concerning with the violation of a particular BLUE assumption: gender and family issues. multicollinearity, serial correlation, and heteroscedasticity. We will learn how to identify, address, and remedy each of those problems. In addition, we will take a similar approach to THE CURRICULUM 39 understanding and correcting model specification conclude with an exploration of the causes and errors. Finally, we will focus on the analysis of consequences of the 2008 financial/economic crisis historical time-series models and the study of long- and its implications for public regulatory policy. run trend relationships between variables. At the end of the fall semester, students will have to carry Resource Economics and Political out an econometric analysis of a World Bank study on labor markets. The spring semester class will Ecology build on the fall class by introducing students to John Casey Nicolarsen advanced topics in econometrics. We will study Open, Seminar—Fall autoregressive dependent lag (ARDL) models, co- Humankind’s ability to radically shape, alter, integration, and error correction models involving degrade, and threaten the Earth’s system(s) is nonstationary time series. We will investigate strongly evidenced. From stratigraphic (geological) simultaneous equations systems, vector error markers to plastic and electronic waste to climate correction (VEC), and vector autoregressive (VAR) change, nonrenewable resource depletion, and soil, models. The final part of the seminar will involve the water, and air spoliation, the consequences of study of panel data, as well as logit/probit models. human activity-induced (anthropogenic) As with the fall class, the spring class will also be provisioning are well-known, unceasing, and, it very “hands-on,” in that students will get ample appears, accumulating and intensifying. Given the exposure to concrete issues while also being impact and interaction between humankind and the encouraged to consider basic methodological natural environment, far less certainty exists as to questions (e.g., the debates between John Maynard how to conceptualize, give narrative to, and address Keynes and Jan Tinbergen) regarding the power and the complex, evolving, and continuous influence limitations of econometric analysis. At the end of the between humankind and its environment. As for the spring semester, students will have to do in-class discipline of economics, significant tensions exist as presentations of self-designed econometric projects to what tools, methods, vision, qualitative and (either singly or in groups) on topics of their choice. quantitative measurement indicators, and The spring semester is particularly relevant to theoretical foundations are appropriate and best- students who wish to pursue graduate studies in a suited for voicing, revealing, stewarding, and social-science discipline, although it will be equally redressing existing and future ecological challenges. relevant for those seeking other types of graduate Along with established and significant topics such as degrees that involve knowledge of intermediate- sustainability, externalities, pollution, regulation, level quantitative analysis. This lecture requires global governance, benefit-cost analysis, taxation some basic knowledge (high-school level) of and subsidy, property rights and the commons, mathematics and statistics. A review of core technology, competition and markets, biophysical concepts in these subjects will be carried out at the realities, planetary boundaries, ecosystem services, beginning of the fall semester. consumption, and environmental ethics, this semester-long seminar will: 1) investigate distinct and alternative methodological, analytical, and Introduction to Economic Theory theoretical tools of various schools of economic and Policy thought and their approaches to environmental John Casey Nicolarsen concerns (e.g., mainstream neoclassical, ecological Open, Seminar—Year economics, post-Keynesian, Marxian, feminist/ Economics has a profound impact on all of our ecofeminist, institutionalist, behavioral); 2) examine lives—from where we live and go to school to what and stress issues of environmental, racial, and we do for a living, how we dress, and how we intergenerational justice; unequal ecological entertain ourselves. Economics is also crucially exchange; trade and development; labor and intertwined with the social and political issues that ecological arbitrage; legal, political, and public policy we care about—from global warming to poverty and dimensions; monetary considerations, accounting; discrimination. This yearlong course introduces a value theory and social costs; 3) consider topics variety of approaches to economics—including such as deep, shallow, social, industrial, urban, and neoclassical, Keynesian, behavioralist, Marxian, and dark ecology; thermodynamics; and novel feminist—and encourages students, in their ecosystems; 4) analyze and apply evaluative tools, conference work, to apply these contrasting methodologies, and practices, including perspectives to current economic issues. We interdisciplinarity, theoretical pluralism, systems thinking, critical ethnography, critical realism, neoliberalism, ultrasociality, cultural ecosystem 40 Economics services, and indigenous and postcolonial ontologies Legal Analysis of Business History: and epistemologies; and 5) critically explore, Corporate Governance, appraise, envision, and theorize as to existing and alternative provisioning possibilities and theses such Democracy, and Economic as green capitalism, ecosocialism, degrowth Transformation (décroissance), metabolic rift analysis, capitalocene, Jamee K. Moudud anthropocene, and subsistence and sufficiency Intermediate, Seminar—Spring perspectives. Conference production (work) will look Rival ideas about property rights and liberty are at to situate students (economists) as keen and the heart of the ways in which market economies discerning interdisciplinary social scientists and will are legally structured. However, as Abraham Lincoln consist of research projects where a broad range of said: “We all declare for liberty; but in using the formats or mediums will be accepted in offering the same word we do not all mean the same thing...The opportunity to examine a topic of personal interest shepherd drives the wolf from the sheep’s throat, for concerning the complex and evolving interaction which the sheep thanks the shepherd as a liberator, between humankind’s economic system(s) and the while the wolf denounces him for the same act as Earth’s system(s). the destroyer of liberty...Plainly the sheep and the wolf are not agreed upon a definition of the orw d Microeconomic Theory and Policy: liberty.” (Address at the Sanitary Fair, Baltimore, Maryland, April 18, 1864) This ambiguity, which Advanced Topics speaks to a central controversy in capitalism in Jamee K. Moudud regards to the nature and distribution of property Intermediate, Seminar—Fall relations, is illustrated in this course via the study of What assumptions, methodologies, values, vision, the legal foundations of corporations. From the and theoretical foundations do microeconomists Cambridge Analytica and Facebook scandal incorporate and rely upon for analyzing economic regarding the harvesting of private information for behavior at the individual level? What insights, commercial and political purposes to the knowledge, inferences, and/or conclusions can be controversies about gun control, the political gleaned through examining characteristics of activism of the National Rifle Association, and the individual firms, agents, households, and markets in significance of Citizens United, we are continuously order to understand capitalist society? How do our confronted by the centrality of corporate governance theories of individual and business behavior inform in the society. And, of course, broader questions our interpretation of distributional outcomes? regarding the economic regulation of corporations Among other topics, this semester-long seminar in (e.g., with respect to environmental, taxation, or intermediate microeconomics will offer an inquiry labor laws) have been central to political debates into economic decision-making vis-à-vis: theories of since colonial times. This course on law and political demand and supply, the individual (agents), economy will explore corporate governance through households, consumption (consumer choice); the lens of legal and business history. A central theories of production and costs; theories of the firm theoretical argument of the course is that politics (business enterprise, corporations); theories of and the economy are deeply interwoven, and law is markets and competition; prices and pricing theory; the mediating institution that structures the public policy and legal foundations; and theories of economy. Conflict and power struggles mold, alter, value and income distribution. Critical analysis, and occasionally disrupt the law/economy/politics reflection, and insight into these and other topics nexus. This theoretical insight will be used to analyze will be supported and strengthened by appealing to a the dynamics of corporate governance and economic broad range of traditions in economics, including regulation in both the United States and other neoclassical (orthodox, mainstream, marginalist) contexts. One of the central questions that we will and post-Keynesian, feminist, Marxian, law and discuss is the “regulation” versus “deregulation” political economy, and institutionalist (heterodox dichotomy that is so central to popular discourse schools of thought). Insights from legal analyses on and economic debates. Quite simply: Can we really microeconomic topics (such as cost-benefit analysis, conceptualize corporations (and the economy) the Coase theorem, and Pareto optimality) will also outside their legal and political context? We will be discussed. Some prior background in economics is explore certain core ideas in neoclassical economics required. through the insights of law and political economy so as to engage the conventional law and economics tradition. We will, at every step, compare theoretical arguments from different theoretical schools in THE CURRICULUM 41 economics and weave into the analysis insights from ENVIRONMENTAL STUDIES constitutional law and corporate law. This is an intermediate-level course designed for students with Environmental Studies at Sarah Lawrence College is an interest in a historically-informed analysis of an engagement with human relationships to the political economy and the law. Some background in environment through a variety of disciplines. Sarah economics and/or a relevant social-science discipline Lawrence’s environmental studies program, a is recommended, although the instructor is willing to critical component of a liberal-arts education, is an be flexible. intersection of knowledge-making and questions about the environment that are based in the Other courses of interest are listed below. Full humanities, the arts, and the social and natural descriptions of the courses may be found under the sciences. Sarah Lawrence students seeking to appropriate disciplines. expand their knowledge of environmental studies are encouraged to explore the interconnections Privacy, Technology, and the Law (p. 28), Michael between disciplinary perspectives while developing Siff Computer Science areas of particular interest in greater depth. The Food, Agriculture, Environment, and Environmental Studies program seeks to develop Development (p. 61), Joshua Muldavin students’ capacities for critical thought and Geography analysis, applying theory to specific xe amples from Introduction to Development Studies: The Political Asia, Africa, and the Americas and making Ecology of Development (p. 62), Joshua comparisons across geographic regions and Muldavin Geography historical moments. Making Latin America (p. 68), Margarita Fajardo Courses include environmental justice and History politics, environmental history and economics, policy Drugs, History, and Politics in Latin America and and development, property and the commons, Beyond (p. 74), Margarita Fajardo History environmental risk and the rhetoric of emerging An Introduction to Statistical Methods and threats, and cultural perspectives on nature, as well Analysis (p. 95), Daniel King Mathematics as courses in the natural sciences. Calculus I: The Study of Motion and Change (p. 96), Environmental Studies offers an annual, Daniel King Mathematics thematically focused colloquium: Intersections: Calculus II: Further Study of Motion and Boundary Work in Science and Environmental Change (p. 97), Daniel King Mathematics Studies. This series brings advocates, scholars, Game Theory: The Study of Conflict and writers, and filmmakers to the College, encouraging Strategy (p. 96), Daniel King Mathematics conversations across the disciplines among Introduction to Real Analysis (p. 98), Philip Ording students, faculty, and guest speakers, as well as Mathematics access to new ideas and lively exchanges. Students Economics and Moral Philosophy (p. 112), Abraham may participate in internships during the academic Anderson Philosophy year or in rural and urban settings across the First-Year Studies: Imperialism, Resistance, country and throughout the world during the Development, Intervention: African States in summer. Guest study at Reed College (Portland, the International System (p. 118), Elke Zuern Oregon), the Council on International Educational Politics Exchange (Portland, Maine), the semester in What’s in a Name? Perspectives on Poverty (p. 129), environmental science at the Marine Biological Rochelle Cassells Psychology Laboratory (Woods Hole, Massachusetts), or other First-Year Studies: Nations, Borders, and Mobilities: programs are available to qualified Sarah Lawrence An Introduction to Migration Studies (p. 145), students. Vibrant connections across the faculty Parthiban Muniandy Sociology mean that students can craft distinctive Marx and Marxisms: Lineages and Contemporary competencies while building a broadly based Relevance (p. 147), Shahnaz Rouse Sociology knowledge of environmental issues, problems, What’s the Story? A Radio Journalism Class (p. 178), policies, and possibilities. Sally Herships Writing Writing Our Moment (p. 179), Marek Fuchs Writing 42 Environmental Studies Introduction to Property: Cultural examples of landscape design in response to climate and Environmental Perspectives change. We also study reworkings of the urban landscape to integrate more productive, biologically Charles Zerner diverse “fringes,” as well as rooftop farms and Open, Seminar—Fall apiaries. The third section, Control: Emerging Perhaps few issues are more contentious in the Security-Scapes, investigates the rise of militarized environmental arena than those surrounding “security-scapes” or “surveillance-scapes,” dating struggles over rights to private, as well as common, from slavery in the United States to the Department property resources. What is property, and how is it of Homeland Security in the post-9/11 era. We made? Who makes property? How are property analyze the visual surround and landscapes seen by rights performed, publicized, and enforced? What is remote drone “pilots” scanning Los Angeles and a commons, and what is common property? Debates Somalia and surveillance of the occupied Palestinian over the “commons” implicate ideas of citizenship, landscapes. We draw upon websites, community, the public good, justice, and governance. advertisements, and new scholarship in security Controversies over public space and community studies, media studies, and social theory. Open to gardens, genetic recombinant research and rights to students with developed skills in critical thinking and the genome, and North-South disputes over rights to analysis of texts. A background in humanities, social biodiversity in the geographic South—as well as sciences, or arts is preferred. debates over property in the Middle East—form some of the hotly contested terrain of property Other courses of interest are listed below. Full rights and the commons use and ownership. descriptions of the courses may be found under the Property rights on a variety of scales—from the appropriate disciplines. biomolecular to whole organs and organisms, from individual trees to whole ecosystems—are examined Understanding Experience: Phenomenological in varied geographic, biological, cultural, and Approaches in Anthropology (p. 5), Robert R. historical contexts. This course is an introduction to Desjarlais Anthropology ideas and cultures of property (private, public, and Indigenous Mobilities (p. 5), Deanna Barenboim collective); debates, claims, and arguments over the Anthropology commons; and the environmental and social Spaces of Exclusion, Places of Belonging (p. 6), consequences of different property regimes. Deanna Barenboim Anthropology Architectures of the Future, 1780 to the Landscapes in Present (p. 11), Joseph C. Forte Art History Translation: Cartographies, Environmental Metagenomics (p. 21), Michelle Hersh Biology Visions, and Interventions Inorganic Chemistry (p. 24), Colin D. Abernethy Charles Zerner Chemistry Intermediate/Advanced, Seminar—Fall First-Year Studies: Cultivating Creativity in Dance, This course investigates the multiple ways in which Gardening, and Food Justice: A First-Year landscapes have been imagined, interpreted, Studies Community Partnership (p. 31), Peggy physically shaped, and controlled in a variety of Gould Dance historical and contemporary sites. The first section, Econometric Analysis: Structural Explorations in the Cartographies, explores ideas of landscape in Euro- Social Sciences (p. 38), Jamee K. Moudud America, Southeast Asia, and colonial-era Africa. The Economics literatures of critical geography and political ecology Microeconomic Theory and Policy: Advanced provide theory and cases illuminating connections Topics (p. 40), Jamee K. Moudud Economics between the position of the cartographer and Resource Economics and Political Ecology (p. 39), presuppositions about the nature of the territory John Casey Nicolarsen Economics being mapped and managed. We examine how Food, Agriculture, Environment, and landscapes on a variety of scales, from “bioregions” Development (p. 61), Joshua Muldavin to nations, are imagined, codified, and transformed Geography through representational processes and material Introduction to Development Studies: The Political moves. The second section, Visions, investigates how Ecology of Development (p. 62), Joshua landscapes are embodied in fine arts and literature, Muldavin Geography as well as in garden and urban design. Readings The Bible and Literature (p. 87), William draw on examples of landscape design in colonial Shullenberger Literature New England and Indonesia and on contemporary THE CURRICULUM 43

Advanced Research Seminar (p. 133), Kim Ferguson Courses offered in related disciplines this year are (Kim Johnson) , Elizabeth Johnston , Linwood J. listed below. Full descriptions of the courses may be Lewis Psychology found under the appropriate disciplines. Intensive Semester in Yonkers: Inequalities and Opportunities in Yonkers: Integrating Theory, Paris, City of Light and Violence (p. 4), Robert R. Research, Policy, and Practice (p. 130), Kim Desjarlais Anthropology Ferguson (Kim Johnson) Psychology Specters of the Subject: Hauntologies of Ghosts, Food Environments, Health, and Social Phantasms, and Imaginings in Contemporary Justice (p. 128), Magdalena Ornstein-Sloan Life (p. 7), Robert R. Desjarlais Anthropology Psychology Understanding Experience: Phenomenological Marx and Marxisms: Lineages and Contemporary Approaches in Anthropology (p. 5), Robert R. Relevance (p. 147), Shahnaz Rouse Sociology Desjarlais Anthropology Lost and Found: Collage and the Recycled Indigenous Mobilities (p. 5), Deanna Barenboim Image (p. 171), Gary Burnley Visual and Studio Anthropology Arts Spaces of Exclusion, Places of Belonging (p. 6), Eco-Poetry (p. 181), Marie Howe Writing Deanna Barenboim Anthropology What’s the Story? A Radio Journalism Class (p. 178), Making the World Go Round: Children as Cogs in the Sally Herships Writing Wheels of Empire (p. 6), Mary A. Porter Anthropology Christians, Jews, and Muslims and the Arts of Medieval Spain: Art, Religion, and ETHNIC AND DIASPORIC STUDIES Identity (p. 12), Jerrilynn Dodds Art History Political Economy of Women (p. 38), Kim Christensen Ethnic and Diasporic Studies as an academic Economics discipline lie at the intersection of several Documentary Filmmaking: Truth, Freedom, and increasingly powerful developments in American Bearing Witness (p. 47), Damani Baker thought and culture. First, interdisciplinary and Filmmaking and Moving Image Arts comparative scholarship has become so prevalent as Food, Agriculture, Environment, and to represent a dominant intellectual norm. Second, Development (p. 61), Joshua Muldavin the use of this new scholarly methodology to meet Geography new academic needs and illuminate new subject The Blues Ethos and Jazz Aesthetics: A History of matter has given rise to a plethora of discourses: African Americans in the City (p. 73), Komozi women’s studies; Native American studies; African Woodard History American studies; gay, lesbian, and transgender Gender, History, and Memory: Diasporic Voices in studies; and global studies. Third, and perhaps most Oral History (p. 74), Mary Dillard History important, there has been a growing recognition, Body Politics: A Cultural History of the United both inside and outside academia, that American States (p. 75), Lyde Cullen Sizer History reality is incorrigibly and irremediably plural and Diversity and Equity in Education: Issues of Gender, that responsible research and pedagogy must Race, and Class (p. 76), Nadeen M. Thomas account for and accommodate this fact. History We define Ethnic and Diasporic Studies Beginning Latin (p. 81), Emily Katz Anhalt Latin (loosely) as the study of the dynamics of racial and Translation Studies: Poetics, Politics, Theory, and ethnic groups (also loosely conceived) who have Practice (p. 91), Bella Brodzki Literature been denied, at one time or another, the full First-Year Studies: Democracy, Diversity, and participation and the full benefits of citizenship in (In)Equality (p. 117), David Peritz Politics American society. We see these dynamics as Children’s Health in a Multicultural Context (p. 132), fascinating in and among themselves but also feel Linwood J. Lewis Psychology that studying them illuminates the entire spectrum Emerging Adulthood (p. 128), Linwood J. Lewis of humanistic inquiry and that a fruitful cross- Psychology fertilization will obtain between ethnic and diasporic The Experiences of Immigrant Children (p. 131), studies and the College’s well-established curricula Rochelle Cassells Psychology in the humanities, the arts, the sciences, and the What’s in a Name? Perspectives on Poverty (p. 129), social sciences. Rochelle Cassells Psychology 44 Film History Immigration, Race, and the Making of the United history of film and a basis orf sound critical States: An Immigration Policy judgment. Students benefit rf om New York City’s Perspective (p. 136), Luisa Laura Heredia Public enormously rich film environment, in which film Policy series, lectures, and festivals run on a nearly First-Year Studies: Judaism, From Religion to continuous basis. Radicalism (p. 137), Glenn Dynner Religion Muslims in Europe (p. 139), Kristin Zahra Sands First-Year Studies: Film as Popular Religion Art Modern Jewish Literature (p. 140), Glenn Dynner Michael Cramer Religion Open, FYS—Year The Jews of Europe (p. 137), Glenn Dynner Religion In the years following its emergence in the late First-Year Studies: Nations, Borders, and Mobilities: 1800s, film quickly became an enormously popular An Introduction to Migration Studies (p. 145), art form, as well as a large and lucrative industry. Parthiban Muniandy Sociology Focusing on the American context, this course will Informality and Precariousness in the City: Family, examine the relationship between the artistic and Home, and the Politics of Transnational industrial sides of film, as ellw its cultural impact Life (p. 146), Parthiban Muniandy Sociology and the implications of its status as a “mass” art. First-Year Studies: (Re)Constructing the Social: During the first semester, we will study the Subject, Field, Text (p. 145), Shahnaz Rouse terminology and techniques used to analyze films Sociology and explore the development of the American film Marx and Marxisms: Lineages and Contemporary industry from its inception, exploring various Relevance (p. 147), Shahnaz Rouse Sociology competing approaches to film that predate the rise First-Year Studies: The New Narrative of “Hollywood.” We will then examine the origins of Photography (p. 165), Joel Sternfeld Visual and the Hollywood system, its development of key Studio Arts genres, its ideological functions, and what it can tell The Ideas of Photography (p. 170), Joel Sternfeld us about the role of popular culture more broadly in Visual and Studio Arts the United States during the first half of the 20th Our World, Other Worlds (p. 174), Myra Goldberg century. In the second semester, we will cover the Writing period from the 1950s to the present, turning to the new forms of film echnologyt and exhibition developed in the postwar period and to the rise of FILM HISTORY television, considering it as both a specific medium and as one that changes the role of film in the Sarah Lawrence students approach film, first and broader media landscape. Other topics to be covered foremost, as an art. The College’s film history include challenges to Hollywood from groups that it courses take social, cultural, and historical contexts has traditionally excluded or instrumentalized into account; but films themselves are the focus of (women, LGBT people, people of color); film as a study and discussion. Students seek artistic value means of representing historical events; the rise of equally in Hollywood films, art films,vant a -garde the contemporary blockbuster film; and how new films, and documentaries, with emphasis on digital technologies have altered film production, understanding the intentions of filmmakers and exhibition, and distribution. Two films will be appreciating their creativity. screened each week in conjunction with the class. As a valuable part of a larger humanistic education in the arts, the study of film often History and Aesthetics of Film includes the exploration of connections to the other arts, such as painting and literature. Close Michael Cramer association with the filmmaking and visual arts Open, Lecture—Year departments enables students working in those This class will provide a detailed survey of the areas to apply their knowledge of film ot creative history of moving-image art, as well as an projects. And within the discipline, the study of film introduction to key aesthetic and theoretical gives students insight into stylistic techniques and concepts in the study of film. eW will study the major how they shape meaning. Advanced courses in elements of film orm—editing,f photography, shot specific national genres, forms, movements, and composition, sound, mise-en-scene—as phenomena filmmakers—both Western and non- emerging from specific historical contexts and chart Western—provide a superb background in the their development both over time and as they travel around the world. While the emphasis of the earlier THE CURRICULUM 45 part of the course will be on film art’s European and Paul Éluard), painters (André Masson, Max Ernst, American origins, we will approach it as a truly Salvador Dalí), and filmmakers (Germaine Dulac, Man global phenomenon with considerable attention Ray, Luis Buñuel), who often collaborated. Our devoted to East and South Asian, African, Latin weekly screenings will begin first with a surrealist American, and Middle Eastern cinemas. While the precursor, The Cabinet of Dr. Caligari, followed by two basic structure of the course will be chronological, masterpieces of surrealist film, Buñuel and Dalí’s Un we will develop the vocabulary and viewing skills Chien andalou and L’Âge d’or, which not only necessary to identify and analyze the key changed the way most of us see and think about components of film et xts as we proceed; for cinema but also paved the way for horror films. eW example, our examination of editing will be situated will trace surrealism’s influence in Buñuel’s later within our discussion of 1920s Soviet cinema, while career and, in Hollywood, through the work of possible uses and aesthetic implications of sound filmmakers like Alfred Hitchcock, David Lynch, the will be examined alongside a number of diverse early Coen Brothers, and Martin Scorsese. Our readings will experiments with sound. Other key moments to be explore, in translation, the writings of the surrealists studied include the development of the “classical” themselves, along with key secondary literature. Hollywood cinema (and challenges to it), the Student conference projects will concentrate on one emergence of new national art cinemas in the post- visual artwork from the upcoming exhibition, World War II era, the radical cinema traditions of the Monsters & Myths: Surrealism and War in the 1930s 1960s and ’70s, and developments in film aesthetics and 1940s, from the Wadsworth Atheneum Museum since the introduction of digital filmmaking of Art in Hartford, Connecticut. techniques in the 1990s. Key theoretical approaches in film studies will also be situated in their historical Realisms context, including early debates around film’s status as art from the 1910s and ’20s, inquiries into the Noa Steimatsky relationship between photography and reality from Open, Seminar—Fall the post-World War II period, and Marxist and The seminar will examine key genealogies, debates, feminist analyses of the ideological implications of and critical responses relating to cinematic realism: film ormf and its relationship to the spectator from the diverse historical “realisms” on which it draws the 1960s and ’70s. This lecture is a superlecture and and the range of meanings, uses, and abuses of the may enroll up to 60 students. term. Questions of realism have been carried over from the traditional arts and literature but have undergone a sea change with the advent of Surrealism: A Transmedia photography and cinematography. While the concept Movement (Poetry, Painting, and of realism seemed bracketed by postmodern Film) discourses, realism as an effect and as a value or Sally Shafto aspiration still haunts the cinematic imagination Open, Seminar—Fall and engages the media at large. The claim to This seminar will provide an in-depth survey of presence carried by photographic indexicality; the surrealism, one of the most important, exciting, and cultural conventions of mimesis and illusionism; the enduring artistic movements of the 20th century. shifting values of document, witness, testimony; the Surrealism was also the first literary and artistic relation of the material and the referential, of the faction to seriously engage with the new medium of authentic and the composed—all ensure the film, and its makers represent the first generation of continued fascination with realism and its myriad artists to have grown up with film. Developing as an forms through our time. Traversing fiction and offshoot of Dadaism in the wake of World War I, documentary, features and shorts, mainstream and surrealism was officiallyounded f in 1924 with the experimental forms, the seminar will consider both publication of André Breton’s Surrealist Manifesto. classical cases and challenging examples from The groundbreaking work of Sigmund Freud, diverse cinemas and cultural moments and discuss exploring the unconscious, provided a major source the political implications of realism and its capacity of inspiration for these artists, who were struggling for transmutation and revival. Screenings will to understand themselves and the horror they had include Wyler’s Best Years of our Lives, Bresson’s just survived. Surrealism would be not only Mouchette, Akerman’s Jeanne Dielman, Burnett’s transnational—moving beyond its original roots in Killer of Sheep, Kiarostami’s Close-Up, and many Paris to become a truly international avant-garde others. movement—but also transmedia, whose proponents were poets (Breton, Louis Aragon, Robert Desnos, 46 Film History Women Make Movies, or Why the utter despair in humanity and yet, inevitably, Gender Representation Really also the remaking of life out of the ruins. Focusing primarily on the postwar European experience but Matters Behind and In Front of the considering, as well, the Pacific theatre of war and Camera the American response, the seminar will interlace Sally Shafto fiction films, documentaries, and newsreels and Open, Seminar—Spring draw upon historical, critical, and literary texts. In 2018, women directors still have a hard time Screenings will include Rossellini’s Germany Year breaking through to receive recognition and steady Zero, Clément’s Forbidden Games, Bernstein’s funding. In fact, according to the Celluloid Ceiling Memory of the Camps, Resnais’s Night and Fog and Report, in 2016 women comprised just seven percent Hiroshima mon amour, Ichikawa’s Fires on the Plain, of directors of the top grossing 250 films in the and many others. United States—a two percent decrease from the previous year. This seminar will offer a historical, Other courses of interest are listed below. Full international survey of women filmmakers up to the descriptions of the courses may be found under the present. In conjunction with certain feminist appropriate disciplines. readings, we will consider the historical reasons for the slow emergence of women as creators, Paris, City of Light and Violence (p. 4), Robert R. beginning with Linda Nochlin’s influential essay, Desjarlais Anthropology “Why Have There Been No Great Women Artists?” Specters of the Subject: Hauntologies of Ghosts, (1971). And beginning with Alice Guy-Blaché, the Phantasms, and Imaginings in Contemporary class will survey some of the best films yb women Life (p. 7), Robert R. Desjarlais Anthropology directors. We will also consider the success rate for Understanding Experience: Phenomenological women directors in other countries, notably Approaches in Anthropology (p. 5), Robert R. Morocco, where women directors have won four Desjarlais Anthropology times the top award in 17 editions. Germaine Dulac, Genealogies of Modern and Contemporary Art, 1890 Dorothy Arzner, Maya Deren, Leni Riefenstahl, Agnès to the Present (p. 10), Sarah Hamill Art History Varda, Claire Denis, Chantal Akerman, Ava DuVernay, Theories of Photography (p. 13), Sarah Hamill Art Mahassine El Hachadi, Margarethe von Trotta, Andrea History Arnold, Sally Potter, Marjane Satrapi, Jane Campion, Architectures of the Future, 1780 to the Célina Sciamma, Isabelle Adjani, Patty Jenkins, Anne- Present (p. 11), Joseph C. Forte Art History Marie Miéville, Gurinda Chada, Mélanie Laurent, Images of India: Text/Photo/Film (p. 16), Sandra Kathryn Bigelow, Sofia oppola,C Mira Nair, Julie Dash, Robinson Asian Studies Diane Kurys, Lina Wertmüller, Margarethe von Trotta, Writing India: Transnational Narratives (p. 15), Lynne Ramsay, Simone Bitton, Farida Benlyazid, and Sandra Robinson Asian Studies Agnieszka Holland are some of the filmmakers whom Bulletproof Screenwriting (p. 53), Frederick Michael we’ll consider both in class and for individual Strype Filmmaking and Moving Image Arts conference projects. Students should have some Storyboarding for Film and Animation (p. 49), Scott prior background in film history or in women's Duce Filmmaking and Moving Image Arts studies to take this seminar. Advanced Projects In Writing for the Screen (p. 53), Frederick Michael Strype Filmmaking and Moving Image Arts Year Zero: Cinema in the Wake of Television Writing: Writing the Spec Script (p. 52), War Marygrace O’Shea Filmmaking and Moving Noa Steimatsky Image Arts Sophomore and above, Seminar—Spring Writing for Television: Advanced Projects (p. 52), How did the cinema confront the catastrophic Marygrace O’Shea Filmmaking and Moving events of the mid-20th century? How did it begin to Image Arts tackle the historical, physical, social, and psychic The Blues Ethos and Jazz Aesthetics: A History of trauma effected by the incomprehensible African Americans in the City (p. 73), Komozi phenomena of Auschwitz and by the blinding light of Woodard History Hiroshima? The seminar will explore this “crisis of Intermediate Italian: Modern Prose (p. 80), Tristana representation” and the cinema’s response to an era Rorandelli Italian that saw suffering and ruin by unprecedented means Theatre in America II: The Age of Revolt (p. 90), and on an unprecedented scale, the death and Joseph Lauinger Literature displacement of millions, the devastation of cities, THE CURRICULUM 47

First-Year Studies: 20th-Century Italian Our program offers an intensive “Semester Literature (p. 86), Tristana Rorandelli Literature Away” program—Cinema Sarah Lawrence—where The Bible and Literature (p. 87), William students work on the development and production of Shullenberger Literature a feature film shot on location on Nantucket, MA. We First-Year Studies: Fops, Coquettes, and the also offer exchange programs in animation with Masquerade: Fashioning Gender and Courtship CalArts and study abroad opportunities in film in From Shakespeare to Austen (p. 85), James Paris, Cuba, and at the world-famous FAMU film Horowitz Literature school in Prague, amongst others. Translation Studies: Poetics, Politics, Theory, and Sarah Lawrence College offers state of the arts Practice (p. 91), Bella Brodzki Literature facilities for the Filmmaking & Moving Image Arts First-Year Studies: The New Elements: Mathematics program including the Donnelly Film Theater that and the Arts (p. 95), Philip Ording Mathematics seats 185 people and has a state-of-the-art 4K Digital Time in Film and Philosophy (p. 113), Roy Ben-Shai Cinema Projector, an intimate 35 person screening Philosophy room, a teaching/editing lab, a 1400 square foot Intermediate Spanish II (p. 149), Isabel de Sena soundstage, an animation studio, and a sound and Spanish foley recording booth. Our equipment room offers Narrative in Contemporary Painting (p. 167), Vera Sony, Canon, Blackmagic, RED, and ARRI cameras, Iliatova Visual and Studio Arts sound, grip, and lighting packages. Advanced Interdisciplinary Studio (p. 167), Vera Recent graduates routinely have their work Iliatova Visual and Studio Arts represented at some of the world’s most prestigious Our World, Other Worlds (p. 174), Myra Goldberg film and media estivals,f most recently at Cannes, Writing Palm Springs, and Slamdance. Graduates who choose to pursue advanced degrees are finding traction at the top film schools in the United States and abroad. FILMMAKING AND MOVING Documentary Filmmaking: Truth, IMAGE ARTS Freedom, and Bearing Witness Sarah Lawrence College’s undergraduate Filmmaking Damani Baker & Moving Image Arts program (FMIA) offers a vibrant, Open, Seminar—Year dynamic, creative incubator to ignite the Nonfiction is our search for the truth; it is an imagination of the next generation of media makers. exploration in humanity—our beauty, complexities, The program seeks to help students navigate the and the often unimaginable. This class is designed intersection of art and technology as they acquire for students who, through filmmaking, hope ot move the tools and skills of the discipline and develop humanity one step closer to understanding who we their critical and creative voices. are and how connected our life experiences may be. Cognizant that not every student will graduate In this yearlong course, students produce one 15- to to be a writer, director, producer, or game developer, 30-minute documentary on the subject of their own the program believes that—with the enduring power choosing. Students will develop treatments, pitch and influence of cinema, television, the Web, and their projects, create production schedules, and social media—students in all fields of study benefit work in small teams to create their films. achE week, from media literacy and theory and a deep students must demonstrate clear progress on their understanding of the ways and means of media projects, including outlined shoot dates, updates on development and production. The program explores a production needs, screening of unedited material, broad scope of media making, including narrative assembly cuts, rough cuts, and the eventual final fiction, documentary/nonfiction, xperimente al film, delivery of their conference films. During class, ew animation, cinematography, storyboarding, and will screen short- and long-form documentary films directing actors, as well as editing, producing, from around the world, complemented by hands-on screenwriting, writing for television, writing and production techniques and experience. Although this producing for the Web, writing for games, and game is an open class, students must be prepared to learn development. camera operation, sound recording, and lighting with Interdisciplinary work across the liberal arts is diligence and professionalism. Each student will encouraged and formal and informal collaboration direct his/her own project; however, the crew will be among the music, dance, theatre, writing, visual made up of the student’s peers, who will be arts, and other disciplines continue to emerge and entrusted with delivering strong technical material. flourish. This course will challenge students to think beyond 48 Filmmaking and Moving Image Arts the beautiful gates of Sarah Lawrence and take on edit as the core of their work for the semester. subjects and opportunities that are new spaces both Students who did not take the fall course, but who emotionally and physically. Nonfiction equirr es do have a rough cut of a film eadyr to cut, may join passion for storytelling and, ultimately, a passion for the class with permission of the professor. A rough people. We hope to finish the eary with a lens on the cut is an opportunity for a new jumping-off point. world that’s evolved to new heights of Dailies will be reexamined for “hidden gems,” little understanding and compassion. moments that may have been filmed unexpectedly or captured between takes. A deep review of this The Art of Editing: Aesthetic and material can help the editor to fully reveal a beat, flesh out a moment, or realize an emotion that the Practice director may have wanted but was not fully achieved Brian Emery in the initial rough cut. Is this shot too long? Is this Open, Seminar—Fall scene necessary? Is this emotional beat realized? In this course, we will examine the art and craft of The work of the editor is not to cut just to cut but motion-picture editing, from both an aesthetic and a often not to cut and to hold a shot. As editor Walter practical viewpoint. We will explore how the Murch says, “The editor is actually making 24 combination and order of shots manage to convey decisions a second: No. No. No. No. No. No. No. No. No. both information and emotion. We will ask if a cut No. Yes!” The aim of this class will be to do a deep- works and, if it does, why it works. Just as dive on an existing student project and make it as importantly, we will ask why a cut does not. This good as it can be. Students will polish a rough cut to course will serve students pursuing editing picture-lock, so that the color grading and sound mix specifically but also filmmaking in general: Editing is can be completed by the end of the year. the language of cinema. There will be screenings of Collaboration with students in other filmmaking films, both professional and student work, with an courses will be encouraged and fostered. Specialized emphasis on their editing style. Examples may be guest artists will be brought in, as needed and where drawn from films such as, but not limited to, Citizen possible, to provide expertise in focused areas. For Kane, Touch of Evil, Rope, Vertigo, Jaws, The the ambitious student, conference work may include Godfather, Raging Bull, Amadeus, Requiem for a editing multiple peer filmmaking projects from other Dream, The Hurt Locker, Birdman, The Babadook, We production classes, re-editing films on which a Need to Talk About Kevin, and Arrival, among others. student has worked, serving as an editor on the When possible, two different versions of a film will Sarah Lawrence College Web series project, or be shown to discuss how different editing choices editing other material shot previously. Students will affect the film’s emotional impact. We will also have the opportunity to screen their current projects explore the tools of digital editing and how they can in class and receive feedback, which will also show be used to achieve the filmmaker’s desired artistic the class how a project evolves and comes together results. Weekly assignments will provide students through editing over the length of the semester. with the necessary building blocks and skill sets to see a project through from a hard drive of footage to a picture-locked film. Assignments will anger from Cinematography: Color, mastering assistant editing techniques to editing Composition, and Style scenes from feature films and elevision,t short films, Misael Sanchez as well as commercials and short documentaries. Open, Seminar—Year Technical instruction will focus on media This yearlong course will explore the roles associated management, import and organization, utilization of with film production, focusing on cinematography keywords and smart collections, basic storyline and lighting for the screen. In addition to covering editing, split editing, sound editing, color correction, camera operation and basic lighting techniques, export, and delivery. No previous editing experience is students will explore composition, color palettes, required. and application of a visual style to enhance the story. The first semester of the course will revolve around The Art of Editing: Postproduction scene recreations, followed by creating and producing original work in the spring term. Students Brian Emery will produce scenes, in class, on a weekly basis. Work Intermediate, Seminar—Spring will be discussed and notes incorporated into the This course aims to build upon the work of the fall next project. Students will be required to produce a semester; however, it is expected that students will short project in addition to the work completed have a rough cut of a student film that they intend to during class times, incorporating elements THE CURRICULUM 49 discussed throughout the semester, as part of prepared with key elements, including talent, props, conference work. Students will develop, write, draw and set design needed to set up, shoot, and break floor plans, shoot, edit, and screen a final project by down each assignment by the end of each session. the end of the term. This is an intensive, hands-on Throughout the semester, students will alternate workshop that immerses the student in all aspects crew positions, allowing the opportunity to of film production. By the end of the course, experience everything from directing and working students should feel confident enough ot approach a with the camera to lighting and gripping. Conference film production project with the experience to take work will consist of an additional scene re-creation on introductory and assistant positions with the or original script completed outside of class. potential for growth. Storyboarding for Film and Working With Light and Shadow Animation Misael Sanchez Scott Duce Open, Seminar—Fall Open, Seminar—Fall This introductory-level course will present students This course focuses on the art of storyboard with the fundamentals of cinematography and film construction as the preproduction stage for film and production. Students will explore cinematography as animation. Students will be introduced to storyboard an art of visual storytelling. The cinematographer strategies, exploring visual concepts such as shot plays a critical role in shaping the light and types, continuity, pacing, transitions, and composition of an image and in capturing that image sequencing. Both classical and experimental for the screen. Students will investigate the theory techniques for creating storyboards will be covered. and practice of this unique visual language and its Emphasis will be placed on the production of power as a narrative element in cinema. In addition storyboard drawings, both by hand and digitally, to to covering camera operation, students will explore negotiate sequential image development and to composition, visual style, and the overall operation establish shot-by-shot progression, staging, frame of lighting and grip equipment. Students will work composition, editing, and continuity. Instruction will together on scenes that are directed and produced in concentrate primarily on drawing, from thumbnail class and geared toward the training of set sketches through final presentation storyboards and etiquette, production language, and workflow. Work animatics. The final project for this class will be the will include the re-creation of classic film scenes, production by each student of a full presentation with an emphasis on visual style. For conference, storyboard and a hi-res animatic in a combined students will be required to produce a second scene visual, audio, and text presentation format. re-creation, incorporating elements discussed Knowledge of storyboards and animatics from this throughout the term. This is an intensive, hands-on class can be used later for idea development and workshop that immerses the student in all aspects presentation of your project to collaborators, for of film production. By the end of the course, pitching projects, for professional agencies, participants should feel confident ot approach a and—most importantly—for you, the maker. project with enough experience to take on introductory positions with the potential for growth. Drawing for Animation: Character Fundamentals of Cinematic Design Scott Duce Lighting Open, Seminar—Fall Misael Sanchez This course focuses on the concepts of animated- Open, Seminar—Spring motion and character-design development as a In this introductory-level production course, preproduction stage to animation. Students will gain students will explore the art of cinematography by knowledge in drawing by engaging with formal producing weekly exercises designed to create and spatial concepts in order to create fully realized break down visual styles. Students will select and re- characters, both visually and conceptually. Through create a scene from a motion-picture film, elevisiont the development of character boards, model sheets, series, or music video. The goal of each class will be beat boards, and character walk-cycle animatics, to work with available resources to replicate the students will draw and conceptualize human, selected scene to the smallest detail, focusing on animal, mechanical, and hybrid figures. Students will composition, color, framing, camera movement, research characters in their visual, environmental, costume, and set design. Each student will come psychological, and social aspects to establish a full 50 Filmmaking and Moving Image Arts understanding of characterization. Both hand-drawn techniques of hand-drawn, frame-by-frame materials and digital drawing tablets will be used animation, where movement is created through throughout the semester. Photoshop, Storyboard Pro, successive, sequential drawings. Students will learn and Final Cut Pro software will be utilized for about body mechanics and motion flow in the character boards, model sheets, and walk-cycle development of animated characters through animatics. The final project for this course will techniques that include walk cycles, turning of include a concept-based, fully developed, multi- forms, transformations, holds, squash and stretch, character animatic. Knowledge from this course can weight, and resistance. Students will design and be used to create and enhance animations, to create pencil test projects using Dragon Frame and establish a character outline for an interactive Final Cut Pro software. Examples of animations media project, or to help in developing a cast of illustrating hand-drawn techniques will be screened characters for a graphic novel or narrative film. regularly. The course will conclude with a final project, for which students develop, conceptualize, Drawing for Animation: Concept and produce a fully animated, hand-drawn short film. Information and skills established in this class Art can be used to improve basic drawing proficiency, to Scott Duce establish fundamentals for later digital animation Open, Seminar—Spring production, to create and enhance an animation This course will explore the preproduction aspects of portfolio, and/or to develop tangible skills for animation concept development. Students will gain producing graphic novels. knowledge in character development, background environments, object and prop design, flora and fauna, scene building, color keys, aerial mapping, Environmental 3D Modeling for and techniques for digital painting. Through the Animation development of matte paintings, model sheets, and Carlo Diego animatics, students will draw and conceptualize Open, Small seminar—Year spaces, characters, and props that are visually In this class, students will be introduced to the harmonious and consistent in both form and theory and practice of three-dimensional modeling function. Students will research and produce and compositing for animation. Three-dimensional narrative outlines that include visual and animation, design, and architectural concepts will be environmental components to establish a full explored in the lecture room, on the computer, and in understanding of an animated project. Both hand- the studio. The purpose of this class is to build the drawn materials and digital drawing will be used skills necessary to leverage the use of a professional throughout the semester. Photoshop, Storyboard Pro, 3D program (Cinema 4D) in storytelling and and Final Cut Pro software will be utilized for animation projects. Instructional topics include: character design, background paintings, and primitive objects, transformations, curve creation concept presentation animatics. The final and manipulation, symmetries, surface creation and conference project for this course will include a fully modification, rendering, frames, keyframes, developed, multicharacter/multi-environment hierarchical animation, morphing, expressions, animatic. Knowledge from this course can be used to rigging, projection mapping, and compositing. create and enhance an animation portfolio, to Weekly assignments will provide students with the establish a concept outline for an interactive media building blocks necessary to take their projects in project, and to help when developing a cast of their individual creative directions. Cinema 4D is an characters and environments for a graphic novel or industry-standard 3D design-and-animation an animated film. software package used in a wide range of projects, from motion graphics to full-length feature films. Hand-Drawn Animation Scott Duce Digital 2D Animation: Shorts Open, Seminar—Spring Robin Starbuck This course focuses on the fundamentals of drawing Open, Seminar—Year as they pertain to two-dimensional, hand-drawn In this class, students develop animation and short animation. Students will gain an understanding of storytelling skills by focusing on the process of value, motion, and light logic and learn to establish creating animated shorts. Instruction includes story form and structure utilizing concepts in perspective. development, visualization, character, continuity, The course will introduce students to traditional timing, digital drawing, rotoscoping, and THE CURRICULUM 51 compositing. All of the production steps required to Experimental Film and Animation complete a short animated film are demonstrated Robin Starbuck and applied through exercises in the fall term, aimed Open, Seminar—Spring at the production of a final short animated film or Whether dealing with abstraction or narrative PSA by each student or team of students in the sequence, experimental films eflectr the unique spring semester. Participants will develop and refine vision of their makers. While most forms of their personal style through exercises in story design animation serve the particular needs of commercial and assignments directed at translating ideas into media, the inclusion of animation in experimental moving images. Digitally-drawn images (with the film has the ability ot deconstruct an idea or option to include live action and photographs) will movement and reassemble it in a new way. This be assembled in sync to sound. Compositing course introduces the concepts and practical study exercises cover a wide range of motion graphic of stop-frame animation production as it relates to features, including: green screen, keyframing, both sequential and nonsequential narration, timeline effects, 2D and 3D space, layering, and movement, space, and time. In a series of short, lighting. Exercises will enable students with a independent, and collaborative projects, students working knowledge of the software Harmony by Toon will learn the techniques and materials necessary to Boon. Harmony is a creative, efficient software used explore a variety of experimental and hand- in the film and TV animation industry. No prior animation practices and to assemble this work with drawing experience is necessary. live-action film/video. The entrc al focus of this course will be on concept development and material Secondary Currents: Experimental exploration for the completion of several short, Film in Place hybrid films. Students will work in both film and Robin Starbuck animation and learn to composit this material for Intermediate, Seminar—Fall the production of their work. A variety of frame-by- This course is part of the Intensive Semester in frame animation techniques in under-the-camera Yonkers program and is no longer open for interviews destructive and constructive animation—including and registration. Interviews for the program take object animation, paper cut-out animation, abstract place during the previous spring semester. drawing for animation, and sand animation—will be This production seminar explores, in depth, the rich taught. Through technical instruction, readings, world of moving images as artistic expression. discussion, screenings, and experimentation, we will Students participate by completing a series of seek to refresh, extend, and redefine traditional exercises and projects supported by lectures, modes of animation and video production. The aim discussion, and screenings. We explore moving- of the course is to explore freely with materials in image forms and styles that blur the boundaries order to trailblaze fresh narrative and aesthetic between narrative, documentary, and abstract possibilities. Final projects may be executed as filmmaking. There is, by definition, no ormulaf for experimental films, animations, or video projections. this kind of work. Rather, the course introduces the No prior experience is necessary. language and techniques of film production alongside strategies for the use of film, Script to Screen performance, and audio design as a means to Rona Naomi Mark creatively examine our relationships to place. We Open, Seminar—Year direct our concerns to an investigation of our This class will introduce students to all aspects of relationship to the legends, histories, topographies, filmmaking, rf om conceiving a script through politics, and language of place in its broadest exhibition of the final orkw . The first semester will context. Assignments are geared toward generating focus on screenwriting, and students will write short an ease and familiarity with one’s engagement with scripts that they will then produce and direct in the place as a media artist. Over the course of the second semester. Simultaneously, students will learn semester, we look at and analyze the pioneering to use the school’s filmmaking equipment and work of many experimental artists, including Gilliam editing software and utilize those skills in a series of Wearing, Doug Aiken, Pipolotti Rist, Seoungho Cho, short, targeted video exercises. These exercises will Mike Kelly, Shana Moulton, Ragnar Kjartansson, and not only familiarize the students with the gear at others. Labs and screenings are designed to their disposal but also will introduce them to introduce the tools and technology necessary for concepts of visual storytelling (e.g., where to put the each project. A major component of the course is the camera to tell the story). The second semester will ongoing analysis and critique of each other’s work. focus on preproduction and previsualization of the 52 Filmmaking and Moving Image Arts student’s conference film. Students will learn how to Writing for Television: Advanced craft shot lists, floor plans, look books, and other Projects tools to help them organize their film shoots. Students will also practice directing actors and Marygrace O’Shea finding a method orf effective communication with Advanced, Seminar—Fall their cast. They will also learn some basic production This class builds on fundamentals learned in Writing management skills, such as breaking down scripts the Spec and Writing the Pilot, with the focus on for production and scheduling. After shooting their creating new work: original TV pilots. Students will conference films, students will workshop their rough be expected to enter the class with a completed 8- to cuts in the classroom and fine-tune their edits in 12-page beat sheet. That beat sheet will be revised preparation for the final class—THE SCREENING! and turned into an original one-hour or half-hour show (no sitcoms). Focusing on engineering story machines, we power characters and situations with Ghouls, Cyborgs, and Elves: Making enough conflict ot generate episodes over many the Genre Film years. During the second half of the semester, you Rona Naomi Mark will generate a second original beat sheet within one Intermediate, Seminar—Fall week and write the pages for that script for the rest This is a hands-on production course with a focus on of the semester. This will mean that you will producing genre films. orkingW within a genre can complete first drafts of two original shows within greatly assist the fledgling filmmaker by suggesting the semester. Having taken all three classes in the content and stylistic elements, thereby freeing the series—spec, pilot, and advanced—you will have artist to focus on self-expression. While exploration the majority of material, in first-draft form, that you of all genres is welcome, our class discussions and will need for a professional portfolio. In conference, video exercises will explore various ideas present in students will do rewrites and begin to develop the so-called “lesser genres” of horror, sci-fi, and character descriptions and a series “bible” for their fantasy. Students will shoot several short video original show. Prospective students are expected to exercises, both individually and in groups, each with have an extensive working knowledge across many a certain directing and thematic prompt. Film genres of TV shows that have aired domestically viewings will demonstrate how genre films handle during the past 25-30 years. Permission of the sexual politics and repression, societal and personal instructor is required. anxieties, naturalism as opposed to fantasy, as well as the smart use of special effects and other Television Writing: Writing the strategies for the low-budget, independent Spec Script filmmaker. In addition to class exercises, students will each produce and direct a short video project for Marygrace O’Shea their conference work. Intermediate, Seminar—Spring The fundamental skill of successful television writers is the ability to craft entertaining and Writing Movies compelling stories for characters, worlds, and Rona Naomi Mark situations created by others. Though dozens of Open, Seminar—Spring writers may work on a show over the course of its During the course of this seminar/workshop, run, the “voice” of the show is unified and singular. students will learn how to write narrative The best way to learn to write for television—and a screenplays with an eye toward completing a mandatory component of your portfolio for agents, feature-length work. The course will cover basics of managers, show runners, and producers—is to draft format and style, and there will be weekly a sample episode of a pre-existing show, known as a assignments aimed at developing students’ “spec script.” Developing, pitching, writing, and screenwriting muscles. Students will “pitch” ideas, rewriting stories hundreds of times, extremely rigorously outline stories, and write and revise pages quickly, in collaboration, and on tight deadlines is of their blueprint for a feature-length film. The class what TV writers on staff do every day, fitting each is designed to help the beginning screenwriter find episode seamlessly into the series as a whole in his or her voice as a film artist, using the written tone, concept, and execution. This workshop will language of visual storytelling. introduce students to these fundamental skills by taking them, step-by-step, through writing their own spec (sample) script for an ongoing dramatic television series. The semester will take students THE CURRICULUM 53 from premise lines, through the outline/beat sheet, approach the work as a director—because, until to writing a complete draft of a full one-hour or half- someone else appears to take the reins (if it is not hour teleplay for a currently airing show. No original the screenwriter), the writer is the director, albeit pilots will be pursued in this semester. In (for now) on the page. Indeed, the course will conference, students may wish to develop another explore filmmaking rf om a director’s point of spec script and/or begin to develop characters and a view—yet in the hands of a screenwriter. With the series "bible" for an original show in preparation for class structured as a combination of seminar and more advanced classes in original pilot writing. workshop-style exchanges, students will read Prospective students are expected to have an selected texts and produced screenplays, write extensive working knowledge across many genres of detailed script analyses, view films and clips, and, TV shows that have aired domestically during the naturally, write short narrative fiction screenplays. past 25-30 years. Permission of the instructor is While students will be writing scenes and scripts required. starting in the first class, they will also be introduced to the concept of “talking their stories,” Writing Moving Pictures as well, in order to explore character and plot while gaining a solid foundation in screen storytelling, Ramin Serry visual writing, and screenplay evolution. We will Open, Seminar—Year migrate from initial ideas through research This yearlong course for the beginning-to- techniques, character development, story intermediate screenwriter is a rigorous, yet intimate, generation, outlining, the rough draft, and rewrites. setting in which to explore and immerse oneself in Students will be immersed in the fundamentals of the screenwriting process. Students may work either character, story, universe and setting, dramatic on short or feature-length screenplays or on an action, tension, conflict, sequence structure, acts, original television pilot or Web series episode. They and style. In-class analysis of peer work within the will read peer work, with the entire process context of a safe and productive environment will supported by in-class analysis and critiques thereof. help students have a critical eye and develop skills to Students are expected to contribute heavily to the apply to the troubleshooting of one’s own work. class discussion. Fundamentals of character, story, Overall, the student builds a screenwriter’s toolkit to universe and setting, dramatic action, tension, use as various projects emerge in the future. The aim conflict, structure, and style will be explored. In of the class is for students to complete a series of conference, in addition to honing their class short-form screenplays and a final written project. In screenwriting project, students are also welcome to conference, students may research and develop a craft a series of short screenplays for production long-form screenplay or teleplay, develop a TV series courses or independent production, rewrite a concept and “bible,” initiate and develop a Web- previously written script, adapt original material series concept, craft a series of short screenplays from another form, and so forth. for production courses or independent production, rewrite a previously written script, adapt original Bulletproof Screenwriting material from another form, and so forth. Research Frederick Michael Strype and screen storytelling skills developed through the Open, Seminar—Fall course may be applied to other writing forms. Pursuing the fundamentals of developing and writing narrative, fiction, motion-picture Advanced Projects In Writing for screenplays, the course starts with a focus on the the Screen atomic element of a screenplay: the scene. We’ll Frederick Michael Strype explore the nature of writing screen stories for film, Advanced, Seminar—Fall television (and its many iterations these days), and This one-semester class is for the serious, advanced the Web. The approach views screenwriting as screenwriter. Consideration for the course requires a having less of a connection to literature and writer’s statement about the project you wish to playwriting and more of a connection to the oral pursue, a list of courses taken, and screenwriting tradition of storytelling. We will dissect the nature experience, as well as a five-page screenwriting and construct of the screenplay to reveal that the sample that must be emailed in advance of any fall document—the script—is actually the interview to [email protected]. Once the manifestation of the process of “telling your film” materials are received, an interview will be (or movie, or Web series, or TV show, et al). In scheduled between instructor and student. The Bulletproof Screenwriting, the emerging seminar will be devoted to reconceptualizing, screenwriter will be encouraged to think of and 54 Filmmaking and Moving Image Arts redeveloping, and restructuring your project-in- original monologues to be performed. This course of process, naturally depending upon your starting study is equally valuable to the emerging performer, point. We will then pursue a rigorous schedule of director, and screenwriter seeking to understand the weekly workshops and diagnostic trouble-shooting alchemy of performance for the camera. critiques. By semester’s end, you will be expected to have a polished draft. Creating the Web Series Doug MacHugh Less is More: On Camera Open, Seminar—Year Performance During the fall semester, the students will develop a Doug MacHugh community that supports a judgment-free working Open, Seminar—Year environment, where the goal is to collectively create This course will focus on both the natural and the best original work possible. This class is not technical aspects of camera performance. The about competition but, rather, about creating student will learn how to create living, breathing collectively. During our Monday sessions, the characters constructed and crafted with an students will conceive and develop 3- to 5-page film emotional inner life that is supported through scenes that thematically capture a specific moment organic impulses and analytical comprehension of in time. The concept and materials to be developed text. The student will learn to create characters will be revised and finalized orf shooting by the end drawn from one’s own life experience, emotional of the fall semester. (These scenes can also be the substitution, and the limitless possibility of the genesis of a larger script to be worked on later.) imagination. The work will require a concentrated During our Thursday sessions, we will begin with attention and expansion of emotional perceptions. warmup exercises developed to get outside of our The student will develop the ability to actively listen passive selves and play like children. These exercises and see and not to anticipate or expect. The scene will expand our vocal and physical creative base. We work will be taken from published screenplays, both will work on intimacy and trust exercises that contemporary and historical. Period work will require address issues such as blocking, negating, and a richly detailed and historically accurate character posturing. We will read both published and original study, paying attention to both the social and scenes that will be memorized for the following historical demands and the language. The scenes week. We will break down the scenes dramatically to will be memorized, rehearsed, further explored with demonstrate what works and what does not. The improvisational exercises, and reviewed with students will work on improvisational monitor playback. The scenes will then be camera exercises—taken from beats within the script—that blocked and shot in a workshop atmosphere that will explore and expand the complexities of a concentrates on performance rather than character’s inner life. For our conference work, we production value. Students will learn how much will view and discuss feature films and physicality is required for the master shot and for documentaries that primarily focus on the Central the two shot and how to harness the physical and American revolutions—such as El Norte, Finding emotional focus for extreme close-up work. There is Oscar, Under Fire, and Salvador—but will also include the required movement aspect to this workshop, as the historical origins of religious and cultural well. Each session will begin with physical and conflicts with films such as The Mission, Apocalypto, emotional exercises that will allow the performers to and Where the River Runs Black. The fall semester move, to breathe, and to play. Students will be conference work will involve writing about a specific offered the opportunity to step behind the camera aspect of the films viewed and discussed in class. and observe what the DP sees in order to better The spring conference work will be shooting the comprehend the framing of a shoot. They will learn vignettes. The students will be required to how to maintain and match continuity while using experience all production areas, (editing, lighting, props and physical movement. Voice-over and ADR sound, camera, and directing) and to keep a weekly skills will also be explored. In the spring semester, journal of the journey throughout the year. The goal the students will work on final scenes that will be is to make the class self-sufficient, in that students either original or published. Those scenes will be will write, direct, film, and edit their wno material. costumed, with props and production value. We will have tech-lab workshops that help students Conference work will be discussed individually with better facilitate skills in lighting, cameras, sound, each student. The course will include short writing and editing. This class is open to writers, actors, and assignments, weekly performance journals, short reactions to the required texts, and perhaps writing THE CURRICULUM 55 directors interested in creating through the course offers filmmakers, screenwriters, and collaboration. Each student, without exception, must directors a window into the importance of—and interview with the instructor. mechanics pertaining to—the producing discipline and a practical skill set for creating and seeking Producing for Filmmakers, work in the filmmaking, TV, and digital content world after Sarah Lawrence College. Tech Lab: Mondays, Screenwriters, and Directors 6pm to 8pm, Heimbold 136 (Ziskin). This lab may not Heather Winters meet every week, but students should have this time Open, Seminar—Year available for labs to be scheduled at the discretion of Producers are credited on every film, elevisiont show, the professor. and media project made. Producers are crucial—even seminal—to each and every production, no matter how big or small. Yet, even as Development and Pitching for Film a pivotal position in the creative and practical and Television process of making a film, TV show, or digital project, Heather Winters the title “Producer” is perhaps the least understood Intermediate, Seminar—Fall of all the collaborators involved. What is a producer? The first step in getting any project made is having This course demystifies and answers this question, the goods—a screenplay, an original TV pilot, examining what a producer actually does in the episodes of a Web series, a short film, a documentary creation of screen-based media and the many hats treatment or proposal—and then developing a rock- one or a small army of producers may wear at any solid pitch. There is, indeed, a right way to pitch your given time. Students will explore the role of the ideas and projects. This course teaches students producer in the filmmaking, elevision,t and digital how to develop a project into a pitch package and process from the moment of creative inspiration how to pitch that project—an essential skill for all through project delivery. In the fall semester, writers, filmmakers, directors and producers. With students will gain hands-on producing experience existing scripts and projects, this class guides through nuts-and-bolts production software students in how to understand studio and network exercises, breaking down projects into production needs, how to ensure that your script is ready to elements, script breakdown, schedules and budgets, pitch, how to establish industry contacts, how to be logline, synopsis and treatment writing, script a good communicator, how to understand and coverage, and final project presentation. In the grapple with changing audience tastes, and, overall, spring semester, students delve into the “show how to sell your idea. Every development executive is business” side of producing and explore the 21st- looking for great stories and screenplays that will century producer’s role in the real world and in make successful films, TV shows, and digital cinema and television on a global platform; they will content. This course coaches students to evaluate also experience an immersive day at the Tribeca Film the strengths and weaknesses of their scripts, Festival. Applying knowledge and skills from the fall treatments, and projects and explore what platform semester, students will learn the fundamentals of TV will best suit their project and why? What kind of pilot season; entertainment law; optioning material; viewer will it appeal to? Is it practical? Has it been music licensing; traditional and innovative financing done before? Answering some of these questions models; daily industry trends; pitching; film will aid students in understanding the practicalities marketing and publicity; global film industry trends; of development. Through a workshop process of the roles lawyers, agents, managers, and sales analyzing scripts, creating pitch packages, and agents play; and how relationships work among verbal pitching, students will learn what makes their producers, directors, and writers. This course particular project marketable, how to make their decodes the intersection of art and commerce, as it stories resonate, and how to engage with and pitch relates to the business and creative elements of the gatekeepers of the myriad platforms where producing. Course work includes written and verbal audiences seek stories on screen. Students should assignments, in-class presentations, readings, have a completed project for which they wish to screenings, assignments based on invited industry develop a pitch. Permission of the instructor is guests, and in-class final presentations. Conference required. work may include producing a film or media project by a student in another Sarah Lawrence College filmmaking production class, research-based or in- depth case studies, and other producer-related work. Designed to provide real-world producing guidance, 56 French Done Deal: Marketing for Understanding Experience: Phenomenological Screenwriters, Filmmakers, and Approaches in Anthropology (p. 5), Robert R. Desjarlais Anthropology Directors Architectures of the Future, 1780 to the Heather Winters Present (p. 11), Joseph C. Forte Art History Intermediate/Advanced, Seminar—Spring Landscapes in Translation: Cartographies, Visions, It is every writer’s dream that their script is the next and Interventions (p. 42), Charles Zerner breakout hit—or every filmmaker’s dream of getting Environmental Studies into a prestigious film estival.f The script just needs First-Year Studies: Film as Popular Art (p. 44), to land in the right hands, get to the right reader, or Michael Cramer Film History grab the attention of the right executive, and it will History and Aesthetics of Film (p. 44), Michael sell. The film just needs ot get in front of the right Cramer Film History programmer, and it will be smooth sailing. But the Surrealism: A Transmedia Movement (Poetry, truth is, most screenplays and TV pilots remain Painting, and Film) (p. 45), Sally Shafto Film unproduced because they are not marketable History enough for production companies, studios, and Women Make Movies, or Why Gender Representation networks to feel confident in buying or financing Really Matters Behind and In Front of the them. And more films than ever before are Camera (p. 46), Sally Shafto Film History competing for those few coveted festival screening Theatre in America I: The Golden Age (p. 89), Joseph slots. For the student hoping to “make it out there,” Lauinger Literature this rigorous journey offers a critical lens into how Time in Film and Philosophy (p. 113), Roy Ben-Shai best to prepare your screenplay, TV pilot, or Philosophy completed film ot be ready to take to market, First-Year Studies: The Senses: Art and identifying clear goals and marketing strategies for Science (p. 124), Elizabeth Johnston Psychology your completed material and projects so that they Beginning Spanish: At the Movies (p. 148), Heather will sell. Through workshops and evaluating and re- Cleary Spanish working your script/TV pilot or finished short, this First-Year Studies: Theatre Outreach: Theatre and course guides students in how to understand the Community (p. 151), Allen Lang Theatre process to make their work “ready for battle,” to 3D Modeling (p. 169), Shamus Clisset Visual and stand out from the herd and have the most Studio Arts successful shot at a launch in a world where there is Introduction to Digital Imaging (p. 168), Shamus no set formula for what is marketable. Students with Clisset Visual and Studio Arts finished films will eparpr e pitch packages, prep their Wood, Dust, Nail (p. 168), Kenneth Tam Visual and projects for film estivalf submission, and navigate Studio Arts the marketplace. Writers with screenplays and TV First-Year Studies: Forms and Fictions (p. 172), Myra pilots will prepare the elements for formal pitches. Goldberg Writing By finding their niche and genre, researching Poetry: What Holds The Unsayable (p. 182), Marie companies producing similar work, and Howe Writing understanding the entertainment business through Writing Our Moment (p. 179), Marek Fuchs Writing the eyes of an executive, students learn how to A Kind of Haunting: A Poetry Workshop (p. 182), market, promote, and network to provide the best Cynthia Cruz Writing opportunities to get their work sold and seen in today’s changing-by-the-second, fast-paced content world. This course will give you the skills needed to hook interest and make people take notice. To FRENCH interview for this course, students must have a completed screenplay, TV pilot or finished film. The French program welcomes students of all levels, Permission of the instructor is required. from beginners to students with several years of French. Our courses in Bronxville are closely associated with Sarah Lawrence’s excellent French Other courses of interest are listed below. Full program in Paris, and our priority is to give our descriptions of the courses may be found under the students the opportunity to study in Paris during appropriate disciplines. their junior or senior year. This may include students Specters of the Subject: Hauntologies of Ghosts, who start at the beginning level in their first eary at Phantasms, and Imaginings in Contemporary Sarah Lawrence, provided that they fully dedicate Life (p. 7), Robert R. Desjarlais Anthropology themselves to learning the language. THE CURRICULUM 57

Our program in Paris is of the highest level, Students who successfully complete a beginning- with all courses taught in French and with the and an intermediate-level French course may be possibility for students to take courses (with eligible to study in Paris with Sarah Lawrence College conference work) at French universities and other during their junior year. This course is conducted in Parisian institutions of higher education. Our French. courses in Bronxville are, therefore, fairly intensive in order to bring every student to the level required to Beginning French: Language and attend our program in Paris. Even for students who don’t intend to go abroad Culture with Sarah Lawrence, the French program provides Aubrey Korneta the opportunity to learn the language in close Open, Seminar—Year relation to French culture and literature, starting at This class will allow students to develop an active the beginning level. At all levels except for beginning, command of the fundamentals of spoken and students conduct individual conference projects in written French. In class and in group conferences, French on an array of topics—from medieval emphasis will be placed on activities relating to literature to Gainsbourg and the culture of the 1960s, students’ daily lives and to French and francophone from Flaubert’s Madame Bovary to avant-garde culture using a variety of French songs, cinema, French female playwrights. On campus, the French newspaper articles, poems, and short stories. Group program tries to foster a Francophile atmosphere conferences replace individual conference meetings with our newsletter La Feuille, our French Table, our for this level, and a weekly conversation session with French ciné-club, and other francophone events—all a French language assistant(e) is required. run by students, along with two French assistants Attendance at the weekly French lunch table and who come to the College every year from Paris. French film screenings are both highly encouraged. In order to allow students to study French while Students who successfully complete a beginning- pursuing other interests, students are also and an intermediate-level French course may be encouraged, after their first eary , to take advantage eligible to study in Paris with Sarah Lawrence College of our Language Third and Language/Conference during their junior year. This course is conducted in Third options that allow them to combine the study French. of French with either another language or a lecture on the topic of their choice. Intermediate French I (Section I): During their senior year, students may also French Identities think about applying to the English assistantship program in France, which is run by the French Eric Leveau Embassy in Washington DC. Every year, Sarah Open, Seminar—Year Lawrence graduates are admitted to this selective This course will offer a systematic review of French program and spend a year in France, working in local grammar and is designed to strengthen and deepen schools for the French Department of Education. students’ mastery of grammatical structures and Bienvenue! vocabulary. Students will also begin to use linguistic concepts as tools for developing their analytic Beginning French: Language and writing. More than other countries, France’s identity was shaped by centuries of what is now perceived by Culture the French as a historically coherent past. It is not Faculty TBA surprising, then, that the 15th-century figure of Open, Seminar—Year Jeanne d’Arc is today the symbol of the extreme This class will allow students to develop an active right-wing party of Le Pen, which has gained a command of the fundamentals of spoken and significant influence in France in the last 30 years. written French. In class and in group conferences, This phenomenon can be seen, in part, as a reaction emphasis will be placed on activities relating to to the changing face of France’s society, exemplified students’ daily lives and to French and francophone by the French “Black-Blanc-Beur” soccer team that culture using a variety of French songs, cinema, Zidane led to victory in World Cup 1998. In this newspaper articles, poems, and short stories. Group course, we will explore the complexities of today’s conferences replace individual conference meetings French identity or, rather, identities following the for this level, and a weekly conversation session with most contemporary controversies that have shaken a French language assistant(e) is required. French society in the past 20 years while, at the Attendance at the weekly French lunch table and same time, exploring historical influences and French film screenings are both highly encouraged. cultural paradigms at play in these “débats franco- 58 French français.” Thus, in addition to newspapers, online Intermediate French II : The Age of resources, recent movies“ and songs, we will also Existentialism study masterpieces of the past in literature and in the arts. Topics discussed will include, among Faculty TBA others, school and religious neutrality; the repressed Intermediate, Seminar—Year question of slavery in France; “cuisine” and tradition; This French course is designed for students who immigration and the heritage of colonization, already have a strong understanding of the major integration, and urban ghettos; women, French love, aspects of French grammar and language but wish and the “Balance ton porc” movement; the 1789 to develop their vocabulary and their grasp of more revolutionary concept of citizen; etc. Authors studied complex aspects of the language. Students are will include Marie de France, Montaigne, Racine, expected to be able to easily read more complex Voltaire, Hugo, Flaubert, Proust, Colette, Duras, texts and to express themselves more abstractly. A Césaire, Chamoiseau, and Bouraoui. The Intermediate major part of the course will be devoted to the study I and II French courses are specially designed to help and discussion of literary texts in French. In this prepare students for studying in Paris with Sarah course, we will mainly study texts by the central Lawrence College during their junior year. This figure of existentialism in France, Jean-Paul Sartre, course is conducted in French. Admission by with special attention to his postcolonial writings. placement test (to be taken during interview week at The texts will include plays and short stories, as well the beginning of the fall semester) or completion of as philosophical and political essays. Course Beginning French. conducted in French. Admission by placement test to be taken during interview week at the beginning of the fall semester or by completion of Intermediate Intermediate French I (Section II): French I (possibly Advanced Beginning for Growing Up French, Language and outstanding students). Culture Through Contemporary Literature and Film Intermediate III: Advanced French: Aubrey Korneta French Women Writers and Open, Seminar—Year Molière in 17th-Century France This course offers a systematic review of French Eric Leveau grammar and is designed to help students Intermediate/Advanced, Seminar—Fall strengthen and master grammar skills and This course will focus on all aspects of the strong vocabulary. In class, we will examine the foundations influence that women exerted on literature and of French identity, how this identity has historically culture in France during the classical period of Louis been shaped, and whether it is open to all groups. As XIV’s reign. We’ll study the historical and social language and its artistic expression are fundamental implications of the phenomenon of the “salon,” components of French identity, we will analyze perceived as a space of freedom for women to contemporary literary and cinematic representations redefine the literary landscape of their time. We’ll of youth in France and the broader French-speaking look at how women writers challenged their male world. These sources interrogate the notion of a colleagues at the heart of their aesthetic and unique French identity and instead emphasize ideological dominance but also how intellectually diversity, fractures, and contestation. We will study a independent women were, in return, perceived by variety of genres—novels, autobiographies, short society. We will thus read major subversive stories, graphic novels, documentaries, fiction films, masterpieces written by women during the period and historical texts—to develop students’ critical while putting them in dialogue with a series of plays reading and writing skills and oral fluency in French, by Molière. France’s iconic playwright was, indeed, as well as their knowledge of and appreciation for also one of the best readers of his time; and he put, contemporary French and francophone literature, in illuminating perspective, the struggles between film, and cultures. The Intermediate French I and II women and men writers over the creation of a new courses are specially designed to help prepare literary canon. In addition to Molière’s response to students for studying in Paris with Sarah Lawrence the rise of a female and feminist literature during his College during their junior year. Admission by time, we will also explore his complex relationship placement test to be taken during interview week at with French neoclassical theatre and tragedy; in the beginning of the fall semester or by completion of particular, his positions regarding the most recent Beginning French. philosophical and religious controversies and, ultimately, the rise of Louis XIV to absolutist power. THE CURRICULUM 59

In such a rich context of past debates and literary design, data visualization, real-time interactivity, works, we’ll also try to bring into our discussion the digital signal processing, cross-platform media contribution of recent feminist theory in order to environments, and mobile media development. foster a dialogue across the centuries. Authors Students are encouraged to coordinate these studied will include Plato, Aristotle, Descartes, project-based investigations of the digital Corneille, Mlle. de Scudery, Racine, Mme. de Villedieu, throughout their studies in the humanities, including Mme. de Sevigne, La Rochefoucauld, Mme. de literature, philosophy, politics, sociology, theatre, Lafayette, and Mme. d’Aulnoy. Admission by and writing. placement test (to be taken during interview week at the beginning of the fall semester) or after Courses offered in related disciplines this year are completion of Intermediate II. This course will be listed below. Full descriptions of the courses may be conducted in French. found under the appropriate disciplines. Specters of the Subject: Hauntologies of Ghosts, Other courses of interest are listed below. Full Phantasms, and Imaginings in Contemporary descriptions of the courses may be found under the Life (p. 7), Robert R. Desjarlais Anthropology appropriate disciplines. Understanding Experience: Phenomenological Paris, City of Light and Violence (p. 4), Robert R. Approaches in Anthropology (p. 5), Robert R. Desjarlais Anthropology Desjarlais Anthropology Specters of the Subject: Hauntologies of Ghosts, Introduction to Computer Programming (p. 27), Phantasms, and Imaginings in Contemporary Michael Siff Computer Science Life (p. 7), Robert R. Desjarlais Anthropology Introduction to Web Programming (p. 28), Michael Understanding Experience: Phenomenological Siff Computer Science Approaches in Anthropology (p. 5), Robert R. Drawing for Animation: Character Design (p. 49), Desjarlais Anthropology Scott Duce Filmmaking and Moving Image Arts “A Talent for Every Noble Thing”: Art, Architecture in Drawing for Animation: Concept Art (p. 50), Scott Italy, 1300-1600 (p. 11), Joseph C. Forte Art Duce Filmmaking and Moving Image Arts History Hand-Drawn Animation (p. 50), Scott Duce Surrealism: A Transmedia Movement (Poetry, Filmmaking and Moving Image Arts Painting, and Film) (p. 45), Sally Shafto Film Storyboarding for Film and Animation (p. 49), Scott History Duce Filmmaking and Moving Image Arts First-Year Studies: Comedy and Romance in the Advanced Projects In Writing for the Screen (p. 53), Middle Ages (p. 86), Ann Lauinger Literature Frederick Michael Strype Filmmaking and First-Year Studies: (Making) World Literature (p. 85), Moving Image Arts Game Theory: The Study of Conflict and Heather Cleary Literature Translation Studies: Poetics, Politics, Theory, and Strategy (p. 96), Daniel King Mathematics Practice (p. 91), Bella Brodzki Literature Discrete Mathematics: A Bridge to Advanced Literature in Translation: Roland Barthes and French Mathematics (p. 98), Philip Ording Literature and Theory (1945–2018) (p. 90), Eric Mathematics Leveau Literature Virtually Yours: Relating and Reality in the Digital Age (p. 126), Meghan Jablonski Psychology Art From Code (p. 169), Angela Ferraiolo Visual and Studio Arts GAMES, INTERACTIVE ART, AND First-Year Studies: New Genres: Drawing NEW GENRES Machines (p. 164), Angela Ferraiolo Visual and Studio Arts Games, Interactive Art, and New Genres span Game Studio: Level Design (p. 169), Angela Ferraiolo offerings in visual arts, film and media, and Visual and Studio Arts computer science to foster technical and digital Game Studio: Nonlinear and Interactive literacy in the arts. Designed for experimentation, Narratives (p. 169), Angela Ferraiolo Visual and this initiative helps students establish digital Studio Arts proficiency while supporting the exploration of a New Genres: Systems Aesthetics (p. 169), Angela wide range of new media forms and technologies. Ferraiolo Visual and Studio Arts Courses of study might include visual programming, 3D Modeling (p. 169), Shamus Clisset Visual and artificial intelligence, gaming, robotics, experimental Studio Arts animation, computer arts, experimental media 60 Gender and Sexuality Studies Introduction to Digital Imaging (p. 168), Shamus Making the World Go Round: Children as Cogs in the Clisset Visual and Studio Arts Wheels of Empire (p. 6), Mary A. Porter First-Year Studies: The New Narrative Anthropology Photography (p. 165), Joel Sternfeld Visual and First-Year Studies: Gods, Heroes, and Kings: Art and Studio Arts Myth in the Ancient World (p. 10), David The Ideas of Photography (p. 170), Joel Sternfeld Castriota Art History Visual and Studio Arts Political Economy of Women (p. 38), Kim Christensen Media Burn: Moving-Image Installation in Economics Practice (p. 169), Jenny Perlin Visual and Studio Women Make Movies, or Why Gender Representation Arts Really Matters Behind and In Front of the Wood, Dust, Nail (p. 168), Kenneth Tam Visual and Camera (p. 46), Sally Shafto Film History Studio Arts Documentary Filmmaking: Truth, Freedom, and First-Year Studies: Forms and Fictions (p. 172), Myra Bearing Witness (p. 47), Damani Baker Goldberg Writing Filmmaking and Moving Image Arts Our World, Other Worlds (p. 174), Myra Goldberg Gender, History, and Memory: Diasporic Voices in Writing Oral History (p. 74), Mary Dillard History Body Politics: A Cultural History of the United States (p. 75), Lyde Cullen Sizer History Diversity and Equity in Education: Issues of Gender, GENDER AND SEXUALITY Race, and Class (p. 76), Nadeen M. Thomas STUDIES History Gender, Race, and Media: Historicizing Visual The Gender and Sexuality Studies curriculum Culture (p. 76), Rachelle Sussman Rumph comprises courses in various disciplines and focuses History on new scholarship on women, sex, and gender. Protest as Women’s Work? Gender, Work, and Subjects include women’s history; feminist theory; Politics in African History (p. 71), Elisabeth Fink the psychology and politics of sexuality; gender History constructs in literature, visual arts, and popular Beginning Latin (p. 81), Emily Katz Anhalt Latin culture; and the ways in which gender, race, class, First-Year Studies: The Invention of and sexual identities intersect for both women and Homosexuality (p. 83), Julie Abraham Lesbian, men. This curriculum is designed to help all students Gay, Bisexual, and Transgender Studies think critically and globally about sex-gender Queer Americans: Henry James, Gertrude Stein, Willa systems and to encourage women, in particular, to Cather, and James Baldwin (p. 83), Julie think in new ways about themselves and their work. Abraham Lesbian, Gay, Bisexual, and Undergraduates may explore women’s studies Transgender Studies in lectures, seminars, and conference courses. Queer Theory: A History (p. 84), Julie Abraham Advanced students may also apply for early Lesbian, Gay, Bisexual, and Transgender Studies admission to the College’s graduate program in First-Year Studies: 20th-Century Italian women’s history and, if admitted, may begin work Literature (p. 86), Tristana Rorandelli Literature toward the master of arts degree during their senior 17th-Century British Literature (p. 88), William year. The MA program provides rigorous training in Shullenberger Literature historical research and interpretation. It is designed The Bible and Literature (p. 87), William for students pursuing careers in academe, advocacy, Shullenberger Literature policymaking, and related fields. First-Year Studies: Fops, Coquettes, and the Masquerade: Fashioning Gender and Courtship Courses offered in related disciplines this year are From Shakespeare to Austen (p. 85), James listed below. Full descriptions of the courses may be Horowitz Literature found under the appropriate disciplines. Romance and Realism, Experiment and Scandal: The Specters of the Subject: Hauntologies of Ghosts, 18th-Century Novel in English (p. 92), James Phantasms, and Imaginings in Contemporary Horowitz Literature Life (p. 7), Robert R. Desjarlais Anthropology An Introduction to Statistical Methods and Understanding Experience: Phenomenological Analysis (p. 95), Daniel King Mathematics Approaches in Anthropology (p. 5), Robert R. First-Year Studies: Democracy, Diversity, and Desjarlais Anthropology (In)Equality (p. 117), David Peritz Politics Faking Families: How We Make Kinship (p. 5), Mary A. Porter Anthropology THE CURRICULUM 61

First-Year Studies: The Developing Child: As a discipline built on field study, students in Perspectives and Contexts (p. 123), Jan Drucker geography classes participate in field trips—most Psychology recently, for example, to farming communities in Personality Development (p. 135), Jan Drucker Pennsylvania but also to Manhattan’s Chinatown, Psychology where students engage aspects of Chinese culture in Virtually Yours: Relating and Reality in the Digital walks through the community that expose the Age (p. 126), Meghan Jablonski Psychology heterogeneity of China through food, art, religion, Children’s Health in a Multicultural Context (p. 132), and language while simultaneously clarifying the Linwood J. Lewis Psychology challenges facing recent immigrants and legacies of Emerging Adulthood (p. 128), Linwood J. Lewis institutions imbued with racism that are carved into Psychology the built environment. That is one of the overarching It’s Complicated: The Nature of Emotions (p. 125), goals of contemporary geography: to investigate the Rochelle Cassells Psychology ways that landscape and place both reflect and First-Year Studies: Nations, Borders, and Mobilities: reproduce the evolving relationship of humans to An Introduction to Migration Studies (p. 145), each other and to their environments. Parthiban Muniandy Sociology First-Year Studies: (Re)Constructing the Social: Food, Agriculture, Environment, Subject, Field, Text (p. 145), Shahnaz Rouse and Development Sociology Joshua Muldavin Marx and Marxisms: Lineages and Contemporary Sophomore and above, Seminar—Year Relevance (p. 147), Shahnaz Rouse Sociology Where does the food we eat come from? Why do First-Year Studies: The New Narrative some people have enough food to eat and others do Photography (p. 165), Joel Sternfeld Visual and not? Are there too many people for the world to Studio Arts feed? Who controls the world’s food? Will global food The Ideas of Photography (p. 170), Joel Sternfeld prices continue their recent rapid rise? And, if so, Visual and Studio Arts what will be the consequences? What are the Media Burn: Moving-Image Installation in environmental impacts of our food production Practice (p. 169), Jenny Perlin Visual and Studio systems? How do answers to these questions differ Arts by place or by the person asking the question? How have they changed over time? This course will explore the following fundamental issue: the GEOGRAPHY relationship between development and the environment, focusing in particular on agriculture Geography is fundamentally an interdisciplinary and the production and consumption of food. The field, often seen as straddling the natural and social questions above often hinge on the contentious sciences and increasingly drawing upon the arts and debate concerning population, natural resources, other forms of expression and representation. For and the environment. Thus, we will begin by critically these reasons, Sarah Lawrence College provides an assessing the fundamental ideological positions and exciting context, as the community is predisposed to philosophical paradigms of “modernization,” as well welcome geography’s breadth and interdisciplinary as critical counterpoints that lie at the heart of this qualities. Geography courses are infused with the debate. Within this context of competing sets of central questions of the discipline. What is the philosophical assumptions concerning the relationship between human beings and “nature”? population-resource debate, we will investigate the How does globalization change spatial patterns of concept of “poverty” and the making of the “Third historical, political, economic, social, and cultural World,” access to food, hunger, grain production and human activities? And how do these patterns food aid, agricultural productivity (The Green and provide avenues for understanding our Gene Revolutions), biofuels, the role of transnational contemporary world and pathways for the future? corporations (TNCs), the international division of Two seminars are taught on a regular basis: labor, migration, globalization and global commodity Introduction to Development Studies: The Political chains, and the different strategies adopted by Ecology of Development and The Geography of nation-states to “develop” natural resources and Contemporary China and Its Place in a Globalizing agricultural production. Through a historical World Economy. investigation of environmental change and the biogeography of plant domestication and dispersal, we will look at the creation of indigenous, 62 Geography subsistence, peasant, plantation, collective, and paper on a topic of your choice related to the course, commercial forms of agriculture. We will analyze the which will be presented at the end of each semester physical environment and ecology that help shape in a special session. but rarely determine the organization of resource use and agriculture. Rather, through the dialectical Introduction to Development rise of various political-economic systems such as feudalism, slavery, mercantilism, colonialism, Studies: The Political Ecology of capitalism, and socialism, we will study how humans Development have transformed the world’s environments. We will Joshua Muldavin follow with studies of specific issues: echnologict al Intermediate/Advanced, Seminar—Year change in food production; commercialization and In this yearlong seminar, we will begin by examining industrialization of agriculture and the decline of the competing paradigms and approaches to family farm; food and public health, culture, and understanding “development” and the “Third World.” family; land grabbing and food security; the role of We will set the stage by answering the question: markets and transnational corporations in What did the world look like 500 years ago? The transforming the environment; and the global purpose of this part of the course is to acquaint us environmental changes stemming from modern with and to analyze the historical origins and agriculture, dams, deforestation, grassland evolution of a world political-economy of which the destruction, desertification, biodiversity loss, and “Third World” is an intrinsic component. We will thus the interrelationship with climate change. Case study the transition from feudalism to capitalism, studies of particular regions and issues will be the rise of merchant and finance capital, and the drawn from Africa, Latin America, Asia, Europe, and colonization of the world by European powers. We the United States. The final part of the oursec will analyze case studies of colonial {development” examines the restructuring of the global economy to understand the evolving meaning of this term. and its relation to emergent international laws and These case studies will help us assess the varied institutions regulating trade, the environment, legacies of colonialism apparent in the emergence of agriculture, resource extraction treaties, the new nations through the fitful and uneven process changing role of the state, and competing of decolonization that followed. The next part of the conceptualizations of territoriality and control. We course will look at the United Nations and its will end with discussions of emergent local, regional, associated institutions and the role that they have and transnational coalitions for food self-reliance played in the post-World War II global political- and food sovereignty, alternative and community economy—one marked by persistent and supported agriculture, community-based resource intensifying socioeconomic inequalities, as well as management systems, sustainable development, and frequent outbreaks of political violence across the grassroots movements for social and environmental globe. By examining the development institutions justice. Films, multimedia materials, and that have emerged and evolved since 1945, we will distinguished guests will be interspersed throughout attempt to unravel the paradoxes of development in the course. One farm field trip is possible, if undingf different eras. We will deconstruct the measures of permits. The seminar participants may also take a development through a thematic exploration of leading role in a campus-wide event on “food and population, resource use, poverty, access to food, the agriculture,” tentatively planned for the spring. environment, agricultural productivity, and different Please mark your calendars when the dates are development strategies adopted by Third World announced, as attendance for all of the above is nation-states. We will then examine globalization required. Attendance and participation is also and its relation to emergent international required at special guest lectures and film viewings institutions and their policies; for example, the IMF, in the Geography Lecture and Film World Bank, AIIB, and WTO. We will then turn to Series—approximately once per month in the contemporary development debates and evening from 6-8 pm. The Web board is an important controversies that increasingly find space in the part of the course. Regular postings of assignments headlines: widespread land grabbing by sovereign will be made there, along with follow-up wealth funds, China, and hedge funds; the “global commentaries. There will be in-class essays, food crisis”; and the perils of climate change. debates, and small group discussions. Conferences Throughout the course, our investigations of will focus on in-depth analyses of course topics. You international institutions, transnational will be required to prepare a poster project and corporations, the role of the state, and civil society will provide the backdrop for the final ocusf of the class: the emergence of regional coalitions for self- THE CURRICULUM 63 reliance, environmental and social justice, and GERMAN sustainable development. Our analysis of development in practice will draw upon case studies As the official language of theeder F al Republic of primarily from Africa but also from Asia, Latin Germany, Austria, Liechtenstein, and portions of America and the Caribbean, and the United States. several other European countries—and with Conference work will be closely integrated with the linguistic enclaves in the Americas and themes of the course, with a two-stage substantive Africa—German is today the native tongue of close research project beginning in the fall semester and to 120 million people. For advanced-degree programs completed in the spring. Project presentations will in fields such as art history, music history, incorporate a range of formats, from traditional philosophy, and European history, German is still a papers to multimedia visual productions. Where required language. And whether the motivation for possible and feasible, students will be encouraged to study is business, culture, travel, friendship, or do primary research during fall study days and heritage, a knowledge of German can add winter and spring breaks. Experience in the social inestimable depth to a student’s landscape of sciences is desired but not required. thought and feeling. Students should ideally plan to study German Other courses of interest are listed below. Full for at least two years. First- and second-year German descriptions of the courses may be found under the courses aim to teach students how to communicate appropriate disciplines. in German and acquire grammatical competency through exercises that demand accuracy and also Paris, City of Light and Violence (p. 4), Robert R. encourage free expression. While conference work in Desjarlais Anthropology Beginning German consists of intensive grammar Spaces of Exclusion, Places of Belonging (p. 6), work with the German assistant (both group and Deanna Barenboim Anthropology individual conferences), intermediate-level students Faking Families: How We Make Kinship (p. 5), Mary A. work on their cultural competency by reading Porter Anthropology German literature (fairy tales, novellas, poems) and Making the World Go Round: Children as Cogs in the working on class, group, or individual research Wheels of Empire (p. 6), Mary A. Porter projects (e.g., writing a short story or screenplay in Anthropology German, exploring German cities online, reading Econometric Analysis: Structural Explorations in the newspaper articles on current events). Advanced Social Sciences (p. 38), Jamee K. Moudud German is a cultural-studies seminar. Students Economics solidify their cultural competency by studying Resource Economics and Political Ecology (p. 39), German history and culture from the late 18th John Casey Nicolarsen Economics century to the present. A special emphasis is placed Introduction to Property: Cultural and Environmental on 20th-century German history and culture, Perspectives (p. 42), Charles Zerner including contemporary German literature and film. Environmental Studies Many students of German spend a semester or Community and Civility (p. 121), Samuel Abrams year studying in Germany. Students have the Politics opportunity to take a 5-week summer seminar in First-Year Studies: Imperialism, Resistance, Berlin (6 credits), where they will take a German Development, Intervention: African States in cultural-studies seminar with an emphasis on the the International System (p. 118), Elke Zuern history and culture of Berlin and a class in art/ Politics architecture, dance, or the German language (taught State Terror and Terrorism (p. 120), Elke Zuern at Neue Schule in Berlin). Politics Food Environments, Health, and Social Justice (p. 128), Magdalena Ornstein-Sloan Beginning German Psychology Roland Dollinger First-Year Studies: Nations, Borders, and Mobilities: Open, Seminar—Year An Introduction to Migration Studies (p. 145), This course concentrates on the study of grammar, Parthiban Muniandy Sociology vocabulary, and pronunciation in order to secure the Informality and Precariousness in the City: Family, basic tools of the German language. Through Home, and the Politics of Transnational grammar exercises in class, dialogues, and short Life (p. 146), Parthiban Muniandy Sociology compositions, students will learn the fundamental Marx and Marxisms: Lineages and Contemporary skills to speak, read, and write in German. This class Relevance (p. 147), Shahnaz Rouse Sociology will meet three times (90 minutes) per week: twice 64 German with Mr. Dollinger and once with Ms. Mizelle, who will Germany during and after the World War II; Das Leben also meet with students individually or in small der Anderen, a film about the secret police in East groups for an extra conference. Course materials Germany; Gegen die Wand, a movie that explores the include the textbook, Neue Horizonte, along with a lives of German-Turkish citizens in Germany and in workbook and a graded German reader that will Turkey; and Walk on Water, an Israeli-German allow students to start reading in German after the production about the legacy of the Holocaust for first eekw . We will cover at least 12 chapters from young Israelis and Germans. This course consists of the textbook—all of the basic grammar and three equally important components: Students will vocabulary that students will need to know in order have one seminar with Mr. Dollinger, who will discuss to advance to the next level. There will be short the class materials with students in German; one written tests at the end of each chapter. Students seminar with Ms. Mizelle, who will work with will also learn basic facts about Germany today. students collectively on various grammar and vocabulary issues; and one biweekly individual Intermediate German conference with Mr. Dollinger. This seminar is conducted entirely in German. Students must Roland Dollinger demonstrate advanced language skills during Intermediate, Small seminar—Year registration in order to be permitted into this class. This course stresses speaking, reading, and writing German and a thorough review of German grammar. The aim of the course is to give students more Advanced German: German fluency and to prepare them for a possible junior Intellectuals and Writers in New year in Germany. Readings in the fall will consist of York, 1933-1950 fairy tales, short stories, poems, and three novellas Roland Dollinger by the Austrian writer Stefan Zweig. Students will Advanced, Small seminar—Spring give several oral presentations (on a fairy tale, on a In this course, we will explore the lives and works of German city, on a German artist or intellectual). In several prominent German and German-Jewish the spring semester, we will use Im Spiegel der intellectuals and writers who escaped from Nazi Literatur, a collection of short stories written by Germany. We will study the existential situation and some of the most famous German writers, such as meaning of “being in exile” and how the topos of Thomas Mann and Bertolt Brecht. A solid grammar “exile” is reflected in the works of those German review, based on the book German Grammar in refugees. We will also look at the networks (or lack Review, will help students improve their speaking thereof) that German and German-Jewish exile and writing skills. Regular conferences with Ms. writers built with native New Yorkers. Reading Mizelle will supplement class work. Prerequisite: excerpts from German exile newspapers, The New Beginning German at Sarah Lawrence College or York Times, and various other publications will help another institution of higher learning or at least four us undertand the historical context of life in New semesters of German in high school. York City between 1933 and 1950. Several trips to relevant museums and archives in New York City will Advanced German: Postwar give students the opportunity to learn the practical German Literature and Film work of historical and literary research. This course consists of three equally important components: Roland Dollinger Students will have one seminar with Mr. Dollinger, Advanced, Small seminar—Fall who will discuss the class materials with students in In this seminar, we will focus on postwar German German; one seminar with Ms. Mizelle, who will work literature from 1945 to the present. As we read with students collectively on various grammar and poems, plays, prose fiction, and essays by writers vocabulary issues; and one biweekly individual such as Anonyma, Borchert, Böll, Celan, Dürrenmatt, conference with Mr. Dollinger. This seminar is Max Frisch, Peter Weiss, Bernhard Schlink, and conducted entirely in German. Students must others, we will give special attention to: (1) social demonstrate advanced language skills during and cultural problems in Germany right after the registration in order to be permitted into this class. war; (2) how German writers have dealt with National Socialism and the Holocaust; (3) German reunification; and (4) German-Turkish issues. We will also watch films such as Mörder unter uns, one of the earliest movies in Germany after World War II; Deutschland, bleiche Mutter, a film about life in THE CURRICULUM 65

Other courses of interest are listed below. Full Greek and Latin will be especially beneficial orf descriptions of the courses may be found under the students interested in related disciplines, including appropriate disciplines. religion, philosophy, art history, archaeology, history, political science, English, comparative literature, and Specters of the Subject: Hauntologies of Ghosts, medieval studies, as well as education, law, Phantasms, and Imaginings in Contemporary medicine, and business. Greek and Latin can also Life (p. 7), Robert R. Desjarlais Anthropology prove valuable to all those who wish to enrich their First-Year Studies: (Making) World Literature (p. 85), imagination in the creative pursuits of writing, Heather Cleary Literature dance, music, visual arts, and acting. Translation Studies: Poetics, Politics, Theory, and Practice (p. 91), Bella Brodzki Literature Beginning Greek A Kind of Haunting: A Poetry Workshop (p. 182), Cynthia Cruz Writing Samuel B. Seigle Open, Seminar—Year This course provides an intensive introduction to Ancient Greek grammar, syntax, and vocabulary, with GREEK (ANCIENT) the aim of reading authentic excerpts of Ancient Greek poetry and prose as soon as possible. Students The Sarah Lawrence College classics program will also read and discuss several dialogues of Plato emphasizes the study of the languages and in English. During the spring semester, while literature of Ancient Greece and Rome. Greek and continuing to refine their grammar and reading Latin constitute an essential component of any skills, students will read extended selections of humanistic education, enabling students to examine Plato’s Apology in the original Greek. Conference the foundations of Western culture and explore projects may also include science and linguistics. timeless questions concerning the nature of the world, the place of human beings in it, and the components of a life well lived. In studying the Intermediate/Advanced Greek: literature, history, philosophy, and society of the Defeating Despotism: Essential Ancient Greeks and Romans, students come to Strategies From Ancient Greek and appreciate them for themselves, examine the Roman Epic Poetry continuity between the ancient and modern worlds, Emily Katz Anhalt and, perhaps, discover “a place to stand”—an Intermediate/Advanced, Small seminar—Fall objective vantage point for assessing modern Fearing tyranny, the framers of the US Constitution culture. in the 18th century drew vital lessons from ancient In their first eary of study, students acquire Athenian democracy (508-322 BCE) and the Roman proficiency in vocabulary, grammar, and syntax, with Republic (509-27 BCE). Before and during the Greeks’ the aim of reading accurately and with increasing and Romans’ radical and unprecedented insight. Selected passages of ancient works are read experiments in broader political participation, in the original languages almost immediately. Ancient Greek and Roman epic poetry shaped Intermediate and advanced courses develop cultural attitudes regarding the use and abuse of students’ critical and analytical abilities while power. As the modern world drifts backward in the exploring ancient works in their literary, historical, 21st century toward various forms of dictatorship and cultural context. Conference projects provide and authoritarian populism, Homer’s Iliad and opportunities for specialized work in areas of Odyssey and Vergil’s Aeneid can help arm us against interest in classical antiquity. Recent conference the tyrants we might serve and the tyrants we might projects have included close readings of Homer’s become. Students will read all three epics in their Iliad, Aristophanes’ Clouds, Pindar’s Odes, Plato’s entirety in English translation. Greek conferences Republic, Cicero’s de Amicitia, the poetry of Catullus, will meet twice each week either individually or in and Virgil’s Aeneid, as well as studies of modern small groups to suit each student’s needs/abilities. theories of myth, Nietzsche’s Birth of Tragedy (in In conference, students will develop their connection with the tragedies of Aeschylus, comprehension of ancient Greek by close reading of Sophocles and Euripides), the social implications of selected texts. Permission of the instructor is Roman domestic architecture, and a comparison of required. Euripides’ Hippolytus with Racine’s Phèdre. 66 Health, Science, and Society Other courses of interest are listed below. Full interested in health and illness may find that descriptions of the courses may be found under the incorporating science and social science into their appropriate disciplines. educational program enables them to achieve a greater depth of understanding and expression in Specters of the Subject: Hauntologies of Ghosts, their work. Phantasms, and Imaginings in Contemporary The Health, Science, and Society program offers Life (p. 7), Robert R. Desjarlais Anthropology undergraduate students the unique opportunity to Beginning Latin (p. 81), Emily Katz Anhalt Latin take advantage of Sarah Lawrence College’s Advanced Latin (p. 82), Samuel B. Seigle Latin nationally recognized graduate master’s programs in Intermediate Latin (p. 81), Samuel B. Seigle Latin Human Genetics and Health Advocacy, both of which Defeating Despotism: Essential Strategies From are the first such graduate programs offered in the Ancient Greek and Roman Epic Poetry (p. 88), country. Events and programs are also coordinated Emily Katz Anhalt Literature with the graduate programs in Art of Teaching and Ancient Philosophy (Plato) (p. 113), Michael Davis Child Development and in collaboration with the Philosophy Child Development Institute. The Philosophy of Tragedy (p. 112), Michael Davis Philosophy Courses offered in related disciplines this year are listed below. Full descriptions of the courses may be found under the appropriate disciplines. HEALTH, SCIENCE, AND SOCIETY Specters of the Subject: Hauntologies of Ghosts, Phantasms, and Imaginings in Contemporary Health, Science, and Society is a cluster of Life (p. 7), Robert R. Desjarlais Anthropology undergraduate and graduate courses, programs, and Understanding Experience: Phenomenological events that address the meaning of health and Approaches in Anthropology (p. 5), Robert R. illness, advocacy for health and health care, and Desjarlais Anthropology structures of medical and scientific knowledge. Biology of Cancer (p. 20), Drew E. Cressman Biology Courses and events are multidisciplinary, bringing General Biology Series: Genes, Cells, and together perspectives from the humanities, creative Evolution (p. 19), Drew E. Cressman Biology arts, social sciences, and natural sciences. Introduction to Genetics (p. 20), Sumaira Zamurrad Undergraduate students who are interested in Biology health, science, and society are encouraged to take Biochemistry (p. 24), Mali Yin Chemistry courses across the curriculum and to design General Chemistry I (p. 22), Mali Yin Chemistry interdisciplinary conference projects. General Chemistry II (p. 22), Mali Yin Chemistry Over the past 25 years, as health and disease Nutrition (p. 24), Mali Yin Chemistry have been examined from social, economic, political, First-Year Studies: Cultivating Creativity in Dance, and historical perspectives, there has been an Gardening, and Food Justice: A First-Year increased awareness of the ways in which Studies Community Partnership (p. 31), Peggy definitions of disease are framed in relation to the Gould Dance values, social structures, and bases of knowledge of Econometric Analysis: Structural Explorations in the particular communities. Globalization has required Social Sciences (p. 38), Jamee K. Moudud us to understand health and disease as crucial Economics international issues, and environmental health is Microeconomic Theory and Policy: Advanced increasingly seen to be a matter of policy that has Topics (p. 40), Jamee K. Moudud Economics significantly differential effects on different Resource Economics and Political Ecology (p. 39), populations. Public talks and events are regularly John Casey Nicolarsen Economics scheduled to bring together undergraduate and Documentary Filmmaking: Truth, Freedom, and graduate faculty and students to consider these Bearing Witness (p. 47), Damani Baker questions of health, medicine, and scientific Filmmaking and Moving Image Arts knowledge from a broad variety of perspectives. Science, Medicine, and Technology in Modern This focus of study may be of interest to Empires (p. 73), Yan Slobodkin History students interested in the health professions, An Introduction to Statistical Methods and including pre-med, nursing, or allied professions Analysis (p. 95), Daniel King Mathematics such as physical therapy, allowing them to combine Time to Tinker (p. 115), Merideth Frey Physics courses in the natural sciences with explorations of the social sciences, arts, and humanities. Similarly, students in the arts and humanities who are THE CURRICULUM 67

Introduction to Electromagnetism, Light, and are surveys—of colonial Latin America, for example, Modern Physics (General Physics Without or Europe since World War II. Others zero in on more Calculus) (p. 115), Alejandro Satz Physics specific opics,t such as medieval Christianity, the Introduction to Mechanics (General Physics Without Cuban revolution, urban poverty and public policy in Calculus) (p. 115), Alejandro Satz Physics the United States, or feminist movements and First-Year Studies: The Developing Child: theories. While history seminars center on reading Perspectives and Contexts (p. 123), Jan Drucker and discussion, many also train students in aspects Psychology of the historian’s craft, including archival research, Challenges to Development: Child and Adolescent historiographic analysis, and oral history. Psychopathology (p. 134), Jan Drucker Psychology First-Year Studies: Reform and Personality Development (p. 135), Jan Drucker Revolution: China’s 20th Century Psychology Kevin Landdeck Food Environments, Health, and Social Open, FYS—Year Justice (p. 128), Magdalena Ornstein-Sloan In 1900, China was a faltering empire ruled by an Psychology autocratic foreign dynastic house and an entrenched Family Caregiving Across the Life Cycle (p. 128), bureaucracy of Confucian officials. Its vso ereignty Magdalena Ornstein-Sloan Psychology heavily battered and its territory compromised by Research Seminar: 21st-Century Sleep (p. 132), foreign powers, China was commonly called “The Meghan Jablonski Psychology Sick Man of Asia.” In 2000, China was a modern Sleep and Health: Clinical Conditions and nation-state ruled by an authoritarian party and an Wellness (p. 124), Meghan Jablonski Psychology entrenched bureaucracy of technocrats and Virtually Yours: Relating and Reality in the Digital administrators. With a surging economy, swollen Age (p. 126), Meghan Jablonski Psychology foreign reserves, dazzling modern cities, and a large Children’s Health in a Multicultural Context (p. 132), and technologically advanced military, China is Linwood J. Lewis Psychology regularly predicted to be the next global superpower. Emerging Adulthood (p. 128), Linwood J. Lewis Yet, the path between these two startlingly different Psychology points was anything but smooth. China’s 20th Building Resilience: Tools From Positive century was a tortuous one. Policymakers, elites, and Psychology (p. 127), Rochelle Cassells the common people oscillated between the poles of Psychology reform and revolution—bouts of wild radicalism Religion, Healing, and Medicine in the United alternated with more sober policies—as they States (p. 141), Irene Elizabeth Stroud Religion pursued changes that they hoped would bring a Health Policy/Health Activism (p. 147), Sarah Wilcox better society and nation. This class examines some Sociology of the major events and personalities of this arduous Lost and Found: Collage and the Recycled century and its momentous political, social, and Image (p. 171), Gary Burnley Visual and Studio cultural changes. We will learn and apply skills of Arts historical analysis to primary documents (in First-Year Studies: The New Narrative translation), some fiction, and film. Along the ywa , Photography (p. 165), Joel Sternfeld Visual and we will encounter a rich cast of characters, Studio Arts including Sun Yat-sen, China’s “national father”; The Ideas of Photography (p. 170), Joel Sternfeld colorful warlords; corrupt bureaucrats; fervent Visual and Studio Arts intellectuals; protesting youths; heroic communist What’s the Story? A Radio Journalism Class (p. 178), martyrs; the towering and enigmatic chairman Mao Sally Herships Writing Zedong; long-suffering peasants; and fanatical Red Guards. These men and women made and remade modern China. This class is history and, thus, is not HISTORY primarily concerned with contemporary China; but by the end of the year, students will be well-equipped The history curriculum covers the globe. Most with an understanding of China’s recent courses focus on particular regions or nations, but past—knowledge that will help immeasurably in offerings also include courses that transcend making sense of today’s China as it becomes geographical boundaries to examine subjects such increasingly important in our globalized economy as African diasporas, Islamic radicalism, or European and society. influences on US intellectual history. Some courses 68 History First-Year Studies: The Sixties International Law Priscilla Murolo Mark R. Shulman Open, FYS—Year Open, Lecture—Fall According to our national mythology, social In a global landscape pocked by genocide, wars of insurgencies of the 1960s originated in the United choice, piracy, and international terrorism, what States and pitted radical youth against the American good is international law? Can it mean anything mainstream. The real story is much more without a global police force and a universal complicated. Politically speaking, the “sixties” began judiciary? Is “might makes right” the only law that in the mid-1940s and extended into the late 1970s, works? Or is it true that “most states comply with the ferment was by no means confined ot youth, and most of their obligations most of the time”? These developments within the United States reflected essential questions frame the contemporary global patterns. Revolutionary movements and ideas practice of law across borders. This lecture provides reverberated from Asia and Africa to Europe and the an overview of international law—its doctrine, Americas, and they mobilized people from virtually theory, and practice. It addresses a wide range of all walks of life. This course situates US movements issues, including the bases and norms of within their global contexts and explores movements international law, the law of war, human-rights that unfolded overseas. On both fronts, we focus claims, domestic implementation of international especially on revolutionary nationalism and its norms, treaty interpretation, and state formation/ various permutations among activists grappling with succession. issues of colonialism, class, race, gender, and sexuality. Readings include historical documents, as Human Rights well as scholarship, and the syllabus makes ample use of music and film. Mark R. Shulman Open, Lecture—Spring History is replete with rabid pogroms, merciless The Price of Citizenship: A History religious wars, tragic show trials, and even genocide. of Poverty and Public Policy in the For as long as people have congregated, they have United States defined themselves, in part, as against an Komozi Woodard other—and have persecuted that other. But history Open, Lecture—Year has also yielded systems of constraints. So how can The history of poverty and public policy in the United we hope to achieve a meaningful understanding of States did not begin with President Roosevelt’s New the human experience without examining both the Deal or with President Johnson’s War on Poverty. wrongs and the rights? Should the human story be left to so-called realists, who claim that power wins Before the Great Depression and the Other America, the public policy toward urban poverty began with out over ideals every time? Or is there a logic of the humiliating and punitive institution of the mutual respect that offers better solutions? This poorhouse. And subsequently, public policy and lecture examines the history of international human social welfare in America developed in the shadow of rights. It focuses on the claims that individuals and the poorhouse. If one school of experts suggests that groups make against states in which they live. American social welfare has been obsessed with the social control over poor people, then a second school Making Latin America of experts has been engrossed in dividing the poor Margarita Fajardo into two moral categories: the deserving poor and Open, Seminar—Year the undeserving poor. Unfortunately, many experts The making of Latin America—deeply embedded in were preoccupied with “improving” the morality of global histories of capitalist expansion, imperial poor people rather than with ending economic domination, and circulation of Western ideas—must poverty amid American bounty. By contrast, there is nonetheless begin by looking inward. The course another tradition—one of social-justice movements examines the ways in which landowners and that demand an end to American economic poverty campesinos, intellectuals and workers, the military, and savage inequality. How did those dynamics blacks, whites, and mestizos understood and shaped shape the contours of American citizenship during the history of this region in the world. From the early the New Deal and the Great Society? Those issues settlements in the Americas and the pre-Hispanic will be explored in the lectures, discussions, and civilizations to the contemporary battles between films in this ourse.c This lecture is a super-lecture neoliberals and neosocials, this yearlong course and may enroll up to 60 students. offers a survey of the more than five centuries of THE CURRICULUM 69 history of the region that we know as Latin America. discussing several key texts of the 1790s that typify After an overview of the intellectual and political the revolt against the Enlightenment outlook with debates about what the term Latin America means which the 18th century ended. and encompasses, the first half of the oursec will survey the fall of the Aztec and Inca empires, the Romantic Europe colonial order that emerged in its stead, independence from Iberian rule, and the division of Philip Swoboda the empire into a myriad of independent republics or Open, Seminar—Year states searching for a “nation.” By focusing on Between the 1790s and the middle of the 19th specific national trajectories, we will then ask how century, European culture was largely shaped by the the American and Iberian civilizations shaped the broad current of thought and feeling that we know new national experiences and how those who made as “Romanticism.” This course will examine the rise claims on the “nation” defined and transformed the of the romantic sensibility in the decades between colonial legacies. In the second semester, the course the 1760s and 1800 and survey diverse will delve into the long 20th century and the multiple manifestations of Romanticism in thought, experiences of, and interplay between, anti- literature, and art during the subsequent half- Americanism, revolution, populism, and century. We will pay particular attention to the authoritarianism. We will ask how different national complex relations between Romanticism and the pacts and projects attempted to solve the problem of three most portentous historical developments of its political inclusion and social integration that era: the French Revolution; the birth of industrial emerged after the consolidation of the 19th-century society in Britain; and the rise of national liberal state. Using primary and secondary sources, consciousness among Germans, Italians, and other fiction, and film, theourse c will provide students European peoples. Readings will include prose fiction with an understanding of historical phenomena such by Goethe, E. T. A. Hoffmann, and Walter Scott; poetry as mestizaje, caudillismo, populism, and reformism, by Wordsworth, Shelley, Hölderlin, and Mickiewicz; among other concepts key to the debates in works on religion, ethics, and the philosophy of contemporary Latin America. history; and political treatises by the pioneers of modern conservativism, liberalism, and socialism. The Enlightenment Effort, Merit, Privilege Philip Swoboda Open, Seminar—Year Persis Charles The 18th-century Enlightenment was arguably the Open, Seminar—Fall most important single episode in the last thousand This course is a history of ideas and practices years of European intellectual history—the true connected to the notion of advancement by merit watershed between the “premodern” world and the rather than by inherited status or wealth. This “modern” world. Yet historians have found the comparatively modern idea is more complex than it Enlightenment to be a singularly elusive may appear. We will focus on four epochs in which phenomenon. Enlightenment thought was woven of personal merit came increasingly to the fore. The several very different strands; the champions of first is the age of the rF ench Revolution and “enlightenment” shared a surprisingly large number Napoleon. With the cry, “The career open to talent,” of assumptions with their supposed opponents; and and the abolition of feudal privilege, the some of the beliefs that we regard as most revolutionaries helped to further the development of characteristic of the Enlightenment were already individualism, self-assertion, and personal ambition being attacked by Rousseau and other adventurous while, at the same time, implicating the citizen more pre-Romantic thinkers before the century was half and more deeply in the apparatus of the state. The over. This course will examine the development of second era will be 1859 to 1870 in Britain, from the the Enlightenment from its origins in the age of the publication of The Origin of Species and the anxieties Baroque to its demise in the era of the French that it provoked about the struggle for existence to Revolution and Romanticism. While the course’s the education act of 1870. That act, which followed a central focus will be ideas, values, and sensibilities, major liberalization of the suffrage, set popular we will also consider the economic, social, and education on its feet as a national project. We will political context of the Enlightenment and examine study the right to vote and to get an education as the the revolutionary upheavals in European politics and means by which the culture created marks of merit. culture that brought it to an end. We will conclude by We will also look at the struggles of those excluded, such as women and the very poor. The next period is the aftermath of the American Civil War, from 70 History Reconstruction to Jim Crow. The slaves—now a badge of honor and a source of pride through the free—what was to become of them? Should they idealization of The Lost Cause? What was the long- compete in society at large, or was it their lot to be term legacy that those losing groups left behind? kept permanently in a kind of quasi-slavery without When viewed from this perspective, were those the right to vote or to go to school? The last period groups really losers at all? After all, without the Anti- brings us up to the present with its many instances Federalists, there would have been no Bill of Rights of meritocracy. The postwar foundation of the in the Constitution. Ultimately, the course aims to welfare state will be examined in the light of the cultivate a “tragic” perspective that goes beyond many challenges to it, especially from the forces viewing history in terms of winners and losers, promoting inequality that coexist with heroes and villains, and instead recognizes that, in unprecedented opportunities for talented the final analysis, ew are all in bondage to the individuals. We will look at the problems that this knowledge that we possess. Some background in poses for education, wealth, and social well-being. history is helpful but not required. This course is best for students with some previous exposure to history or the social sciences. The “Founders” in Film and Fiction Eileen Ka-May Cheng “The Losers”: Dissent and the Open, Seminar—Fall Legacy of Defeat in American We were told that George Washington never told a lie Politics From the American and confessed to his much chagrined father that he Revolution to the Civil War chopped down the fabled cherry tree. Was this the myth to inspire trust in the “Founding Fathers” and Eileen Ka-May Cheng the infant democracy? But the myths continue. For Open, Seminar—Fall more than two centuries, the “Founding Fathers" Though our nation was born in conflict and is have been a touchstone for American identity. sustained by conflict, the present always seems Americans have expressed their fascination with the inevitable; surely the United States of 2018 is but the “Founders” not only in the political arena but also in flowering of the seeds planted so many centuries the realm of fiction—in orksw ranging from James ago. To imagine that the Revolutionary War ended in Fenimore Cooper’s novel The Spy to the HBO series failure and that the Founding Fathers were John Adams and the Broadway musical Hamilton. hanged—and the names of loyalists such as What is the source of this fascination? But most Hutchinson and Arnold were as much on our lips as importantly, who were the “Founders” that have Washington, Adams, and Jefferson—seems such a hold on the American historical blasphemous. Or to imagine celebrating the loyalist imagination—and what did they actually stand for? William Franklin as a hero rather than his father, The course will explore those questions by looking at Benjamin, seems utterly absurd. The world just the different ways that the “Founders” have been wouldn’t be what it is if, instead of calling ourselves represented in film and fictionr f om their own time American, we identified ourselves as Canadian. The to the present. We will consider a variety of media, melodic themes of liberty, dissent, and equality including novels, art, plays, films, and elevision.t We would seem less lyrical if Americans could no longer will look at how those fictional portrayals reflected claim them as their own; but would our larger cultural changes and at the different political understanding of American identity be the richer if and social purposes they served. Would the musical we viewed these themes as forged in conflict? To glorification of Hamilton have been a hit during the this end, the course will focus on those groups who Great Depression? We will also examine the extent to were on the losing side of major political conflicts which those portrayals conformed to historical from the American Revolution to the Civil War; reality, using them to look more broadly at the namely, the loyalists, the Anti-Federalists, the relationship between history and fiction. What anc Federalists, the Whigs, and the Confederacy. The fiction ontributc e to historical understanding, and course will also consider the ultimate losers in those what are its limits as a medium of historical conflicts—those who erw e denied political rights representation? altogether and thus even the possibility of victory. What did the treatment of those different political groups reveal about the extent of—and limits to—American acceptance of dissent? How did a culture that placed a premium on success and achievement regard loss and defeat? How was the South able to turn the defeat of the Confederacy into THE CURRICULUM 71 Palestine/Israel and the Politics overthrow authorities, and how those historical of History questions help us understand contemporary Africa. The study of politics in Africa, like the field of history Matthew Ellis in general, has shifted enormously in the wake of Open, Seminar—Fall challenges by historians of gender. Historians of This course provides a comprehensive introduction nationalism began to look at women and, to major topics and debates in the historiography of concurrently, at grassroots movements and everyday Palestine/Israel from the mid-19th century to the people. This class will foreground the questions present. The course has two broad goals: first, to raised by those historical debates about gender, delineate significant trends and transformations labor, and protest and place them into a longer arc of that defined the political, economic, cultural, African political history, beginning with precolonial intellectual, and social history of that contested land African empires and continuing through Islamic in the modern period; and second, to explore the jihads of the 19th century, anticolonial movements, evolution of—and fraught political debates and critiques of independent African states. The surrounding—varying interpretations of this history. ways people defined and understood gender Themes to be covered include: Ottoman Palestine in changed in the context of enormous changes to the the 19th and early 20th centuries; Jewish modernity economy, so we will consider the connection and the origins and trajectory of Zionism as an between changing ideas about gender, labor, and ideology and political movement; the emergence and politics. The class is designed to proceed more development of Palestinian national identity and thematically than chronologically, with primary nationalism; British colonial rule and the Mandate sources that allow students to gain an introduction system; the historiography of partition and its to aspects of African culture, as well as history, with consequences; the construction of Israeli national a focus on themes including West African Islam, the culture and identity after 1948; the politics of history of slavery, colonialism and anticolonialism, memory among Israelis and Palestinians; regional and the stakes of independence. war and diplomacy; the role of the United States and the global ramifications of struggle in Palestine/ Israel; and various aspects of state and society The Atomic Bombs as History, within Israel, with a special focus on the diversity of Experience, and Culture: its ethnic and religious composition. It bears saying Washington, Hiroshima, and that this is not a course about the “Arab-Israeli Nagasaki conflict” or even primarily about “conflict,” as such; rather, this course provides an integrative approach Kevin Landdeck to Palestinian and Israeli history, emphasizing the Open, Seminar—Fall construction and articulation of multiple visions for In January 2018, the Bulletin of Atomic Scientists set forging collective identity within Palestine/Israel, as the hands of the Doomsday Clock (yes, it’s a thing) at well as strategies for establishing and asserting two minutes to midnight, the nearest it has been to control over it. To this end, we will pay particular catastrophe since 1953. In February, Putin attention in this course to cultural announced that Russia has developed “invincible” sources—especially literature and film—as a way to nukes capable of hitting virtually anywhere on the capture the complexity of voices and identities that globe, while Donald Trump goaded Kim Jong-un with claim this land as their own. tweets about the size of his nuclear “button.” With world leaders flirting with the prospect of nuclear holocaust, an understanding of the only instance of Protest as Women’s Work? Gender, nuclear warfare is again relevant—even crucial. Work, and Politics in African Through a rich variety of sources (textual, visual, and History cinematic), this seminar will examine the atomic bombings of Hiroshima and Nagasaki in August 1945 Elisabeth Fink from three major perspectives. First, reading Open, Seminar—Fall scholarship and primary documents, we will look at This class investigates the history of women, work, the decision to drop the bombs, as well as the and protest in sub-Saharan Africa from the 13th postwar claims justifying them. We will challenge century to the present. We will be particularly the American narrative that the bombings were attentive to the political stakes of fundamental militarily necessary while also putting them into the questions that historians ask, including which actors historical context of World War II—specifically, have the ability to create change, how strategic bombing of nonmilitary targets, prospects constituencies have been mobilized to change or of Japanese surrender in the final months of the 72 History conflict, and the looming Cold War with Russia. possibilities and exigencies of empire. Throughout, Second, we will confront the effects of the bombs on we will engage in an extended critique of the very Hiroshima, Nagasaki, and their populations. concept of objective scientific knowledge. Technical descriptions and firsthand accounts will help us grasp the unique destructiveness of the Africa, Decolonization, and atomic bombs on both bodies and buildings, as well as how people coped with that destructiveness. The Revolution in the Global 20th diary of Michihiko Hachiya, for example, will reveal a Century medical doctor’s observations on the breakdown of Elisabeth Fink society and how ordinary Japanese dealt with the Open, Seminar—Spring aftermath of the bombing of Hiroshima. And finally, This course examines the dynamic history of the course examines the impact of the bombs on decolonization, with a focus on people, movements, Japan’s postwar culture, including the profound and ideas coming from the African continent that sense of victimization the bombings imparted, which played a dynamic role in a global history of has complicated Japanese narratives about World revolution. The class is organized chronologically and War II and inspired an abiding pacifism in Japanese thematically, beginning with the early 20th century society. In a different vein, serious literature—such and ending by considering decolonization’s legacies as Black Rain by Masuji Ibuse—will open up the on some of the most important questions facing relevance of atomic narratives by exploring the contemporary Africa. We will work as a class to social alienation endured by the hibakusha (bomb define what decolonization is, looking beyond the survivors) in postwar Japan. Shōmei Tōmatsu’s moment when African states gained legal photography of Nagasaki and its hibakusha will independence and thinking about the legacies of provide a visual window on the bombs’ legacy, as colonial rule in economic, political, and cultural life. well. We will also examine some popular We will begin with movements led by artists and culture—the original (1954) Godzilla (Gojirō) movie political leaders from Africa and the African diaspora and some anime or manga—for the ways in which to create cultural and political unity to challenge the the bombs were appropriated and invoked in dehumanization of colonial rule in the early 20th apocalyptic imagery, imagery that expressed a century. By mid-century, the devastation of World distinctive understanding of the dark side of science War II left in its wake a new strategic opportunity for and technology and made a lasting contribution to African political life. As Africans united in opposing wider global culture. the violence, exploitation, and racism of colonial rule, they debated what independence should look Early Modern Science in Global like. In doing so, they contributed to and drew from dynamic global debates about decolonization as a Perspective, 1492–1800 revolutionary moment. From political leaders Yan Slobodkin advocating for the decolonizing world to band Open, Seminar—Fall together for economic development and political The modern sciences trace their origins to the 16th nonalignment as the Third World to African and 17th centuries, during which time the knowledge Americans fighting against white supremacy in the of nature took on dramatically new forms at the United States, African leaders participated in a hands and minds of people such as Nicolaus global conversation about what politics and Copernicus, Francis Bacon, and Isaac Newton. Those revolution should look like. Ideas and movements figures and their contemporaries proposed radically from the continent were part of global struggles different ways to study, understand, and explain the against racism, empire, and capitalism. But many world. However, what we call “European” science did African leaders argued that colonization did not end not emerge in isolation. Those new ways of knowing with the rise of new nation-states; and by situating were intimately intertwined with global exploration protests against independent African states and and the establishment of vast empires. Francis European, American, and global institutions in terms Bacon wrote that knowledge is power. How, then, did of the legacy of colonization or its incomplete empires make knowledge—and how did knowledge demise, we will consider the long legacies of make empires? In this course, we will explore how decolonization in global protest. From the protests of science merged over and across the division of the the global 1960s and against post-independence world into “the West and the rest” even as it helped states and global institutions to the ways in which to create that division. We will examine how debates over migration continually refer back to scientific knowledge was influenced by the colonial relationships, decolonization continues to shape contemporary Africa and the world. The class THE CURRICULUM 73 will examine Africa and Africans’ dynamic place in Science, Medicine, and Technology global history while remaining centered around the in Modern Empires dynamic people, ideas, and movements coming from the African continent. Beginning with analyzing Yan Slobodkin primary sources as a class, students will be prepared Open, Seminar—Spring for archival visits to utilize the unique resources of We often think about science as the disinterested the New York area at the Schomburg Center for search for objective truth about the natural world. Research in Black Culture (New York Public Library) The scientific method, this story goes, emerged from and the Tamiment Library (housed at New York the European Renaissance and Enlightenment and University, but open to the public). spread throughout the world, inaugurating modernity and putting all peoples on the path of progress. Yet, the moral consensus surrounding the Personal Narratives: Identity and ideas of science, medicine, and technology that History in Modern China helped define the modern era obscures a contested Kevin Landdeck and often disturbing history. Rather than uncritically Open, Seminar—Spring accepting a triumphalist story of the progressive This seminar explores the realm of private life and march of scientific modernity, this course will individual identity and its relationship to the explore how scientific ideas and practices changed historical events and changes taking place in over the course of the 19th and 20th modern China from the late Qing dynasty (1644-1911) centuries—paying special attention to how they into the Reform era (2000s). Our investigations will were used in imperial contexts, what kind of cover an eclectic mix of “personal” writings: diaries, rhetorical and practical work they accomplished, letters, memoirs, oral testimony, autobiographies, and whose interests they served. We will ask third-party anthropological reconstructions of questions such as: How did science and technology individuals, and (auto)biographical fiction. Among contribute to the rhetorical power of colonial others, we will encounter late imperial Confucian “civilizing missions”? What role did scientific radicals and mystics, petty literati, young urban expertise play in the administration and control of women and their mothers with bound feet, peasants, colonial populations? How did the geographic, radical revolutionaries, intellectuals, Maoist Red political, and racial dynamics of colonialism Guards, and factory workers. These personal influence European epistemology? Ultimately, we narratives not only open up windows on the lives and will seek a more nuanced understanding of how times of their writers but also allow us to investigate science, medicine, and technology function in our the intersection between the practice of writing and own globalized world. identity construction in modern China. The primary readings will be contextualized with historical The Blues Ethos and Jazz scholarship and supplemented by selections from Aesthetics: A History of African some important theorists (Benedict Anderson, Anthony Giddens, and René Girard) that provide Americans in the City interdisciplinary analytical tools to explore the Komozi Woodard construction of personal identity and the self. We Sophomore and above, Seminar—Year will ask ourselves how the writers of the personal By the 20th century, African Americans in the city writings present themselves: What are their self- produced the genius of blues and jazz, including conceptions and self-deceptions? Where does their distinctive aesthetics of pleasure in music and sense of “self” come from, and how do they dance. Artists like Bessie Smith, Ma‘ Rainey, Billy construct private selves through writing? We should Holiday, Louis Armstrong, Ella Fitzgerald, Lester even dare to ask whether these categories of Young, and Duke Ellington were paradigmatic in that “private” and “self” are relevant. The rapid, often cultural production. Those aesthetics influenced the traumatic, changes of modern China will cause us to black imagination in social, political, and cultural consider how these people understood and situated development, including not only the Harlem themselves in wider society and the events of their Renaissance and Chicago Black Renaissance but also time and, thus, will raise questions about the the Black Arts Movement. With that cultural and imaginative constructions of national (or social) historical background, students in this seminar will communities that are smuggled inside these explore a variety of research projects. “personal” stories. 74 History Drugs, History, and Politics in method (including oral history), and what are the Latin America and Beyond ethical implications of both the digital revolution and the digital divide for oral historians? For the Margarita Fajardo purposes of this class, “memory” will be defined Sophomore and above, Seminar—Spring broadly to include not only the mental recall that The “War on Drugs,” shootings in favelas, colgados in people utilize when responding to interview US-Mexican border states, and (in)famous drug lords questions but also hidden, political, and public (or ”narcos”) dominate contemporary images of, and memories. conversations about, drugs in Latin America. From the narconovelas and narcocorridos to even narco- tourism, narcoviolence has created a myriad of After Colonialism: Development, cultural and social artifacts that cultivate both Modernization, and National fascination and repulsion over a phenomenon that Culture in the Middle East During has profound economic, social, and political the ‘Long 1950s’ ramifications for the region and for the world. This course seeks to understand the multiplicity of Matthew Ellis historical causes and effects of narcoviolence in the Intermediate, Seminar—Fall most conspicuous cases in Latin America during the The 1950s were a transformative decade in Middle 20th century: Brazil, Colombia, Mexico, and Central Eastern history. On the one hand, it was a heady America. To do so, the course will situate the current period of national liberation. Egypt, under Gamal ‘Abd narcoviolence within a longer history of al-Nasser and the Free Officers, shook off the last psychoactive drugs as goods, linking producers and vestiges of British imperial influence and led the consumers through global capitalism since the early rapidly decolonizing Arab world in calling for the modern period. From coffee to cocaine, we will region’s complete political and economic discuss the origins of both fascination with and independence from the West. Israel, for its part, prohibition of psychoactive drugs. We will examine flexed new muscles as a fledgling independent state the social, political, and economic functions of drugs and strove doggedly to fortify both the bounds and in different historical contexts, their transformation bonds of the nation. On the other hand, the 1950s from luxury to mass commodities, and even their witnessed the emergence of a new mode of state- fetishization. In addition, the course explores the society relations across the Middle East, predicated economics, politics, and culture of drugs in the long on a firm ideological commitment to government-led era of narcoviolence and globalization. Using primary modernization. This course will provide a close and secondary sources, history and social science examination of the dynamics of postcolonial nation- perspectives, the course seeks to foster deep and building and modernization in the Middle East during serious engagement with the history of Latin that pivotal decade by focusing on the interplay of America and its complex relation to psychoactive politics and culture—particularly in Egypt, Israel, drugs. and Turkey, each of which pursued strikingly parallel paths of modernization and national development in the 1950s with profound consequences for the Gender, History, and Memory: future of the region. Special attention will be given Diasporic Voices in Oral History to cultural production (cinema, music, literature, Mary Dillard radio, popular newspapers, and magazines) as a Intermediate, Seminar—Fall critical lens for understanding how the contours of This course introduces students to the best modern citizenship and national belonging were practices of oral history by analyzing the works of similarly negotiated and contested throughout the women who have been historically marginalized. We decade. Students are expected to have completed will focus on the stories of African, African previous coursework in either Middle East Studies or American, and Caribbean women, while studying modern history, though exceptions can be made with ongoing debates in the field of oral history. By using permission of the instructor. ethnographies, life histories, oral histories, biographies, and autobiographies, we will answer Right and Left in Latin America the following questions: How can oral history be Margarita Fajardo used to provide a more inclusive rendering of the Intermediate, Seminar—Fall past? How have women used various forms of voice The categories of right and left go beyond party to represent themselves and tell their own stories? affiliation or ideological orientation, transcending What are the limitations of any historical research labels loosely attached to politicians, intellectuals, THE CURRICULUM 75 and institutions. The battles between states and address—women’s demands for equality and self- markets, individual rights and collective action, or determination; and the emergence of independent order and freedom reveal society’s fundamental but women’s movements within national revolutions. constant problem: how to organize itself. Most Reading includes memoir, fiction, and political recently, the Pink Tide—or the rise of popular, treatises, as well as historical scholarship. This is an socially oriented, and outspoken politicians to the advanced seminar, designed for seniors and graduate presidencies of Venezuela, Brazil, Bolivia, and students but open to juniors with permission. Argentina, among others—aimed at putting an end to the Washington Consensus era. Reacting against Visions/Revisions: Issues in the the preeminence of technocrats, open markets, and international capital of the previous decade, these History of Women and Gender battles unleashed a new chapter in the long-term Lyde Cullen Sizer battle between the right and the left. Drawing on Advanced, Seminar—Year policy battles in the political, economic, social, and This seminar surveys pathbreaking studies in the cultural fields in the history of Latin America, the history of women, gender, and related subjects. course will examine the shifting and sometimes Course readings, which include both theory and conflicting meaning of right and left. Rather than historiography, exemplify major trends in feminist siding with the frontrunners or underdogs of history, scholarship since the 1960s—from early challenges we will attempt to understand the options available to androcentric worldviews to the current stress on to historical actors, the underlying premises of those differences among women and multiple systems of choices, and the costs and benefits of the policy dominance and subordination. Class discussions options of both the right and the left. From the range from fundamental questions (e.g., What is colonial debates on the nature of Indians and their feminism? Is “women” a meaningful category?) to consequent role in the New World society to the Cold theoretical, interpretive, and methodological War struggles between violent revolution and debates among women’s historians. The course is progressive reform, the seminar covers a broad designed to help advanced students of women’s historical arc but delves deeply into each historical history clarify research interests by assessing the moment. We will use documents produced by those work of their predecessors. MA candidates will also involved in the debates, along with secondary use the course to define thesis projects. Open to sources, to question the extent to which we can senior undergraduate students. Core class required of speak about the past using the modern categories of all first-year Women’s History graduate students. right and left. Thus, the seminar provides an overview of Latin American history through its key Body Politics: A Cultural History of figures and classical dilemmas, as well as the the United States analytical tools to understand how political stances about the organization of society—such as right and Lyde Cullen Sizer left—emerge and transform. Advanced, Seminar—Year Historian Joan Jacobs Brumberg argues, “In the 20th century, the body has become the central personal Revolutionary Women project of American girls.” Increasingly in US culture, Priscilla Murolo the body is seen as the ultimate expression of the Advanced, Seminar—Year self; and that personal project has become a project Moving from 19th-century struggles against slavery of more than girls. This course will analyze the to more recent uprisings against apartheid and emergence of this consuming anxiety against the global capitalism, this seminar explores women’s backdrop of other conversations about what are relationships to revolutions that have shaped the understood as women’s and men’s bodies: as modern world. Although the course focuses largely workers, as mothers and fathers, as public figures, on US history, we will also consider developments in as sexual beings. Using cultural criticism, novels, and Europe, Asia, Africa, Latin America, the Caribbean, films, as ellw as history, we will discuss questions of and the Middle East. Topics include the revolutionary body politics generally and how a study of the body work of well-known individuals such as Harriet reveals crucial cultural and political values. The way Tubman, Luisa Capetillo, Aleksandra Kollontai, Yuri the body is displayed, hidden, used, misused, Kochiyama, Mamphela Ramphele, and Rigoberta celebrated, transformed, and vilified provides a lens Menchú; unsung women’s essential contributions to through which to make sense of ideals of gender, revolutionary movements around the globe; the ways beauty, sexual politics, racial politics, labor politics, in which revolutions have addressed—or failed to and family politics—all areas of interest in this 76 History class. Although most of the course will focus on the Diversity and Equity in Education: 20th century United States, the first third of the fall Issues of Gender, Race, and Class semester will be devoted to general questions about defining body politics and a quick look at the 19th Nadeen M. Thomas century. We will end at the close of World War II in Advanced, Seminar—Year the fall and pick up at the same moment in the The education system is a central institution in the spring, finishing yb May at or near the end of the socialization of young people and the maintenance 20th century. Conferences will involve research into of the modern nation-state. Schools support primary materials. This will be a writing-intensive meritocratic models of society by providing course, including (mostly) expository writing but opportunities for social mobility. Paradoxically, also creative nonfiction. Open only to juniors, seniors, schools also reproduce gender, racial, and class and graduate students. inequality. In this course, we will examine the roles that schools play in the transmission of culture, formation of identity, and reproduction of social Gender, Race, and Media: structures. Paying special attention to gender and its Historicizing Visual Culture intersection with other social categories, we will Rachelle Sussman Rumph look at practices and policies that shape students’ Advanced, Seminar—Year performance as they strive for competence, In this course, we will engage with the field of visual achievement, and acceptance. We will also analyze culture in order to develop a critical framework the larger political and economic contexts that through which we may understand visual perception shape both schools and the communities in which as a set of practices that inform, and are informed they are situated. by, structures of power. Throughout the semester and the year, we will consider the following Other courses of interest are listed below. Full questions: What does it mean, from a historical descriptions of the courses may be found under the perspective, to live in a society that seemingly appropriate disciplines. privileges visual perception? How does power figure into past and contemporary viewing practices? How Paris, City of Light and Violence (p. 4), Robert R. have visual technologies been leveraged to situate Desjarlais Anthropology alternative practices of looking more squarely within Specters of the Subject: Hauntologies of Ghosts, the Western public’s fields of vision? eW will Phantasms, and Imaginings in Contemporary accomplish this by focusing on the rich scholarship Life (p. 7), Robert R. Desjarlais Anthropology of visual culture theory, media and communication Making the World Go Round: Children as Cogs in the scholarship that foregrounds gender and racial Wheels of Empire (p. 6), Mary A. Porter analysis, and the excellent work that bridges media/ Anthropology visual studies and women’s history. We will work Genealogies of Modern and Contemporary Art, 1890 with a variety of texts, such as art, advertising, print to the Present (p. 10), Sarah Hamill Art History magazines, television programming, film, and social Christians, Jews, and Muslims and the Arts of media. Readings roughly span the 19th century Medieval Spain: Art, Religion, and through the contemporary era. Through our readings, Identity (p. 12), Jerrilynn Dodds Art History we will observe the ways in which the 19th-century “A Talent for Every Noble Thing”: Art, Architecture in production and circulation of images of the “other” Italy, 1300-1600 (p. 11), Joseph C. Forte Art and a gendered gaze began to take on a particular History potency in the United States and Europe with the Architectures of the Future, 1780 to the growth of industrialization, commercial advertising, Present (p. 11), Joseph C. Forte Art History and immigration. Twentieth-century scholarship will East vs. West: Europe, the Mediterranean, and focus on, among other things, the rise of a global Western Asia From Antiquity to the Modern media landscape in which the lines between Age (p. 10), David Castriota Art History producers and consumers of media became First-Year Studies: Gods, Heroes, and Kings: Art and increasingly blurred. An examination of Myth in the Ancient World (p. 10), David contemporary viewing practices will enable us to Castriota Art History consider some of the implications of a radically First-Year Studies: Reform and Revolution: China’s fractured “mediascape” and its attendant struggles 20th Century (p. 14), Kevin Landdeck Asian over ownership of meaning, as media technologies Studies enable visual processes of signification to spin out Popular Culture in China (p. 15), Ellen Neskar Asian wildly in unpredictable and surprising directions. Studies THE CURRICULUM 77

Reading China’s Revolutions Through Fiction and Theatre in America I: The Golden Age (p. 89), Joseph Memoir (p. 16), Ellen Neskar Asian Studies Lauinger Literature Personal Narratives: Identity and History in Modern The Music of What Happens: Alternate Histories and China (p. 16), Kevin Landdeck Asian Studies Counterfactuals (p. 93), Fredric Smoler The Atomic Bombs as History, Experience, and Literature Culture: Washington, Hiroshima, and Defeating Despotism: Essential Strategies From Nagasaki (p. 15), Kevin Landdeck Asian Studies Ancient Greek and Roman Epic Poetry (p. 88), Political Economy of Women (p. 38), Kim Christensen Emily Katz Anhalt Literature Economics First-Year Studies: 20th-Century Italian Legal Analysis of Business History: Corporate Literature (p. 86), Tristana Rorandelli Literature Governance, Democracy, and Economic 17th-Century British Literature (p. 88), William Transformation (p. 40), Jamee K. Moudud Shullenberger Literature Economics The Bible and Literature (p. 87), William Econometric Analysis: Structural Explorations in the Shullenberger Literature Social Sciences (p. 38), Jamee K. Moudud Romance and Realism, Experiment and Scandal: The Economics 18th-Century Novel in English (p. 92), James Microeconomic Theory and Policy: Advanced Horowitz Literature Topics (p. 40), Jamee K. Moudud Economics Translation Studies: Poetics, Politics, Theory, and Introduction to Property: Cultural and Environmental Practice (p. 91), Bella Brodzki Literature Perspectives (p. 42), Charles Zerner Transformation Sounds! Ethnomusicology and Social Environmental Studies Change (p. 101), Niko Higgins Music Landscapes in Translation: Cartographies, Visions, Philosophy as Therapy (p. 112), Abraham Anderson and Interventions (p. 42), Charles Zerner Philosophy Environmental Studies Community and Civility (p. 121), Samuel Abrams First-Year Studies: Film as Popular Art (p. 44), Politics Michael Cramer Film History First-Year Studies: Judaism, From Religion to History and Aesthetics of Film (p. 44), Michael Radicalism (p. 137), Glenn Dynner Religion Cramer Film History Readings in Early Christianity: The Johannine Year Zero: Cinema in the Wake of War (p. 46), Noa Community (p. 141), Cameron C. Afzal Religion Steimatsky Film History Readings in the Hebrew Bible: Genesis and Documentary Filmmaking: Truth, Freedom, and Exodus (p. 138), Cameron C. Afzal Religion Bearing Witness (p. 47), Damani Baker Modern Jewish Literature (p. 140), Glenn Dynner Filmmaking and Moving Image Arts Religion Creating the Web Series (p. 54), Doug MacHugh The Jews of Europe (p. 137), Glenn Dynner Religion Filmmaking and Moving Image Arts American Religious Mythmaking: The Stories We Tell Food, Agriculture, Environment, and Ourselves (p. 139), Irene Elizabeth Stroud Development (p. 61), Joshua Muldavin Religion Geography First-Year Studies: Nations, Borders, and Mobilities: Introduction to Development Studies: The Political An Introduction to Migration Studies (p. 145), Ecology of Development (p. 62), Joshua Parthiban Muniandy Sociology Muldavin Geography First-Year Studies: (Re)Constructing the Social: Intermediate/Advanced Greek: Defeating Despotism: Subject, Field, Text (p. 145), Shahnaz Rouse Essential Strategies From Ancient Greek and Sociology Roman Epic Poetry (p. 65), Emily Katz Anhalt Marx and Marxisms: Lineages and Contemporary Greek (Ancient) Relevance (p. 147), Shahnaz Rouse Sociology Intermediate Italian: Modern Prose (p. 80), Tristana Writing Our Moment (p. 179), Marek Fuchs Writing Rorandelli Italian Nonfiction orkW shop: To Tell the Truth (p. 178), Beginning Latin (p. 81), Emily Katz Anhalt Latin Suzanne Gardinier Writing First-Year Studies: The Invention of Homosexuality (p. 83), Julie Abraham Lesbian, Gay, Bisexual, and Transgender Studies Queer Americans: Henry James, Gertrude Stein, Willa Cather, and James Baldwin (p. 83), Julie Abraham Lesbian, Gay, Bisexual, and Transgender Studies 78 International Studies INTERNATIONAL STUDIES Pilgrimage and Tourism: South Asian Practices (p. 17), Sandra Robinson Asian Studies What kind of global society will evolve in the 21st Writing India: Transnational Narratives (p. 15), century? Linked by worldwide organizations and Sandra Robinson Asian Studies communications, yet divided by histories and ethnic Beginning Chinese (p. 25), Leihua Weng Chinese identities, people everywhere are involved in the Films and Novels in Chinese (p. 25), Leihua Weng process of reevaluation and self-definition. oT help Chinese students better understand the complex forces that Intermediate Chinese (p. 25), Leihua Weng Chinese will determine the shape of the 21st century, Sarah Legal Analysis of Business History: Corporate Lawrence College offers an interdisciplinary Governance, Democracy, and Economic approach to international studies. Broadly defined, Transformation (p. 40), Jamee K. Moudud international studies include the dynamics of Economics interstate relations; the interplay of cultural, Econometric Analysis: Structural Explorations in the ideological, economic, and religious factors; and the Social Sciences (p. 38), Jamee K. Moudud multifaceted structures of Asian, African, Latin Economics American, Middle Eastern, and European societies. Microeconomic Theory and Policy: Advanced A variety of programs abroad further extends Topics (p. 40), Jamee K. Moudud Economics students’ curricular options in international studies. Resource Economics and Political Ecology (p. 39), The experience of overseas learning, valuable in John Casey Nicolarsen Economics itself, also encourages more vivid cultural insight Beginning French: Language and Culture (p. 57), and integration of different scholarly perspectives. Aubrey Korneta French The courses offered in international studies are Intermediate French I (Section II): Growing Up listed throughout the catalogue in disciplines as French, Language and Culture Through diverse as anthropology, art history, Asian studies, Contemporary Literature and Film (p. 58), economics, environmental science, geography, Aubrey Korneta French history, literature, politics, and religion. Beginning French: Language and Culture (p. 57), Wesley Gunter French Courses offered in related disciplines this year are Food, Agriculture, Environment, and listed below. Full descriptions of the courses may be Development (p. 61), Joshua Muldavin found under the appropriate disciplines. Geography Introduction to Development Studies: The Political Language Matters: Exploring the Cultural Grammars Ecology of Development (p. 62), Joshua of Capitalism (p. 7), Aurora Donzelli Muldavin Geography Anthropology Human Rights (p. 68), Mark R. Shulman History Paris, City of Light and Violence (p. 4), Robert R. International Law (p. 68), Mark R. Shulman History Desjarlais Anthropology Making Latin America (p. 68), Margarita Fajardo Specters of the Subject: Hauntologies of Ghosts, History Phantasms, and Imaginings in Contemporary Right and Left in Latin America (p. 74), Margarita Life (p. 7), Robert R. Desjarlais Anthropology Fajardo History Understanding Experience: Phenomenological Drugs, History, and Politics in Latin America and Approaches in Anthropology (p. 5), Robert R. Beyond (p. 74), Margarita Fajardo History Desjarlais Anthropology Beginning Italian (p. 79), Emilia Gambardella Italian Indigenous Mobilities (p. 5), Deanna Barenboim Intermediate Italian: Modern Prose (p. 80), Tristana Anthropology Rorandelli Italian Spaces of Exclusion, Places of Belonging (p. 6), Japanese I (p. 80), Chieko Naka Japanese Deanna Barenboim Anthropology Japanese II (p. 80), Chieko Naka Japanese Christians, Jews, and Muslims and the Arts of Japanese III (p. 81), Izumi Funayama Japanese Medieval Spain: Art, Religion, and First-Year Studies: (Making) World Literature (p. 85), Identity (p. 12), Jerrilynn Dodds Art History Heather Cleary Literature “A Talent for Every Noble Thing”: Art, Architecture in First-Year Studies: 20th-Century Italian Italy, 1300-1600 (p. 11), Joseph C. Forte Art Literature (p. 86), Tristana Rorandelli Literature History Japanese Literature: Ancient Myths to Early Modern Religion and the State in China (p. 17), Ellen Neskar Tales (p. 89), Sayuri I. Oyama Literature Asian Studies Japanese Literature: Modern to Contemporary Images of India: Text/Photo/Film (p. 16), Sandra Literature (p. 91), Sayuri I. Oyama Literature Robinson Asian Studies THE CURRICULUM 79

Translation Studies: Poetics, Politics, Theory, and communication and literary texts. In conference Practice (p. 91), Bella Brodzki Literature sessions—especially helpful in customizing study to Global Circulations: Art and Pop Music of each student’s level of fluency—students pursue Asia (p. 101), Niko Higgins Music reading and writing related to topics that compel Breakin’ Up Is Hard To Do: Secession and Exit in the them. And in conversation meetings, students simply “End of History” (p. 118), Yekaterina Oziashvili talk with native Italians about anything of common Politics interest. Individual conference projects may be as First-Year Studies: Imperialism, Resistance, creative and diverse as is appropriate for each Development, Intervention: African States in student and can include interdisciplinary work in the the International System (p. 118), Elke Zuern Italian language. Politics As in other disciplines, the resources of New State Terror and Terrorism (p. 120), Elke Zuern York City enhance student experience. Opera Politics performances at the Metropolitan Opera (after Muslims in Europe (p. 139), Kristin Zahra Sands preparatory readings from libretti), film series and Religion lectures, museums, and internships related to Salafi and Jihadi Thought (p. 141), Kristin Zahra conference work all offer ways to bring Italian to life. Sands Religion And for bringing students to Italy, Sarah Lawrence’s Beginning Russian (p. 143), Melissa Frazier Russian study program in Florence maintains the small scale Intermediate Russian (p. 143), Natalia Dizenko and individual attention that is the mark of the Russian College, providing an exceptional opportunity to First-Year Studies: Nations, Borders, and Mobilities: combine a yearlong academic experience with the An Introduction to Migration Studies (p. 145), cultural immersion of a homestay living Parthiban Muniandy Sociology arrangement. Advanced students have the Informality and Precariousness in the City: Family, opportunity to spend the second semester of their Home, and the Politics of Transnational year abroad studying at the University of Catania in Life (p. 146), Parthiban Muniandy Sociology Sicily. First-Year Studies: (Re)Constructing the Social: The Italian program periodically offers Subject, Field, Text (p. 145), Shahnaz Rouse literature courses in Italian or in translation as part Sociology of the literature curriculum. Among these courses Marx and Marxisms: Lineages and Contemporary are: Images of Heaven and Hell; The Three Crowns: Relevance (p. 147), Shahnaz Rouse Sociology Dante, Petrarch, and Boccaccio; and Fascism, World Beginning Spanish: At the Movies (p. 148), Heather War II, and the Resistance in 20th-Century Italian Cleary Spanish Narrative and Cinema. Advanced Spanish: Introduction to Literature (p. 149), Eduardo Lago Spanish Beginning Italian First-Year Studies: The New Narrative Emilia Gambardella Photography (p. 165), Joel Sternfeld Visual and Open, Seminar—Year Studio Arts This course, for students with no previous The Ideas of Photography (p. 170), Joel Sternfeld knowledge of Italian, aims at giving the student a Visual and Studio Arts complete foundation in the Italian language with What’s the Story? A Radio Journalism Class (p. 178), particular attention to the oral and written Sally Herships Writing communication of everyday use and all aspects of Italian culture. The course will be conducted in Italian after the first month and will involve the ITALIAN study of all basic structures of the language—phonological, grammatical, and The study of Italian at Sarah Lawrence College offers syntactical—with practice in conversation, reading, the rigors of language study and the joys of composition, and translation. In addition to the basic immersion in one of the richest cultures of the West. Italian grammar and an array of supplementary The course of study consists of classroom, computer and Internet material, the course will also conference, and conversational components, all include texts from prose fiction, poetry, journalistic enhanced by the flexible academic structure of the prose, songs, films, eciper books, and the language College and its proximity to New York City. In the of publicity. Conference work is largely based on classroom, students learn Italian grammar, syntax, reading and writing, and the use of the language is and phonology, using sources of everyday encouraged through games and creative composition. The course also has a conversation 80 Japanese component in regular workshops with the language JAPANESE assistants. Supplementary activities such as opera and relevant exhibits in New York City are made The Japanese program includes courses in Japanese available, as possible. Credit for the course is language and Japanese literature. In beginning and contingent upon completing the full year, by the end intermediate language course levels, students of which students attain a basic competence in all develop and deepen communicative skills in aspects of the language. speaking, listening, reading, and writing. Students at all language course levels also meet weekly with a Intermediate Italian: Modern language assistant for conversation practice either Prose individually or in small groups. The weekly lunchtime Japanese Table is a friendly gathering for casual Tristana Rorandelli conversation. Field trips to places in the New York Intermediate, Seminar—Year City area—such as the Urasenke Chanoyu Center for This intermediate-level course aims at improving a Japanese tea ceremony or Mitsuwa Marketplace and perfecting the students’ speaking, listening, for a taste of Japanese noodles or to browse in reading, and writing skills, as well as their Kinokuniya bookstore—bring Japanese language knowledge of Italy’s contemporary culture and study to life. literature. In order to acquire the necessary Students may also study Japanese literature in knowledge of Italian grammar, idiomatic translation in courses such as Modern Japanese expressions, and vocabulary, students will be Literature, Spirits and the Supernatural in Japanese exposed to present-day Italy through the selection of Literature, and Reading Ōe Kenzaburō and Murakami modern Italian literature (e.g., short stories, poems, Haruki. Students with Japanese language proficiency and passages from novels), as well as specific may do readings of primary Japanese texts for newspaper articles, music, and films in the original conference work. For Sarah Lawrence students language. Some of the literary works will include interested in studying abroad in Japan, the College selections from Alessandro Baricco, Gianni Rodari, has two exchange programs: Tsuda Women’s College Marcello D’Orta, Clara Sereni, Dino Buzzati, Stefano in Tokyo and Kansai Gaidai University in Osaka. Benni, Antonio Tabucchi, Alberto Moravia, Achille Students may also attend other study-abroad Campanile, and Italo Calvino. In order to address the programs in Japan. students’ writing skills, weekly written compositions will also be required as an integral part of the course. The materials selected for the class— Japanese I whether a literary text, song, video, or grammar Chieko Naka exercise—will be accessible at all times to the Open, Seminar—Year students through myslc. Conference topics might This course is for students with no previous include the study of a particular author, literary text, knowledge of Japanese. Students will develop basic film, or any other aspect of Italian society and communicative skills in listening comprehension and culture that might be of interest to the student. speaking, as well as skills in reading and writing Conversation classes will be held twice a week with (katakana, hiragana, and 145 kanji) in Japanese. the language assistant. While classes will be devoted primarily to language practice, an understanding of Japanese grammar will also be emphasized as an important basis for Other courses of interest are listed below. Full continued language learning. Classes will meet three descriptions of the courses may be found under the times weekly, and tutorials with a language appropriate disciplines. assistant will meet once a week. “A Talent for Every Noble Thing”: Art, Architecture in Italy, 1300-1600 (p. 11), Joseph C. Forte Art Japanese II History Chieko Naka First-Year Studies: Comedy and Romance in the Intermediate, Seminar—Year Middle Ages (p. 86), Ann Lauinger Literature This advanced-beginning course is for students who First-Year Studies: 20th-Century Italian have completed Japanese I or its equivalent. Literature (p. 86), Tristana Rorandelli Literature Students will continue to develop basic skills in Translation Studies: Poetics, Politics, Theory, and speaking, listening, reading, and writing while Practice (p. 91), Bella Brodzki Literature expanding their vocabulary and knowledge of grammar. At the end of the course, students should be able to handle simple communicative tasks and THE CURRICULUM 81 situations effectively, understand simple daily In their first eary of study, students acquire conversations, write short essays, read simple proficiency in vocabulary, grammar, and syntax, with essays, and discuss their content. Classes will meet the aim of reading accurately and with increasing three times weekly, and tutorials with a language insight. Selected passages of ancient works are read assistant will meet once a week. in the original languages almost immediately. Intermediate and advanced courses develop Japanese III students’ critical and analytical abilities while exploring ancient works in their literary, historical, Izumi Funayama and cultural context. Conference projects provide Intermediate/Advanced, Seminar—Year opportunities for specialized work in areas of This course is for students who have completed interest in classical antiquity. Recent conference Japanese II or its equivalent. The aim of the seminar projects include close readings of Homer’s Iliad, is to advance students’ Japanese language Aristophanes’ Clouds, Pindar’s Odes, Plato’s Republic, proficiency in speaking and listening, reading Cicero’s de Amicitia, the poetry of Catullus, and (simple essays to authentic texts), and writing in Virgil’s Aeneid, as well as studies of modern theories various styles (emails, essays, and/or creative of myth, Nietzsche’s Birth of Tragedy (in connection writing). Students will meet for classes and with the tragedies of Aeschylus, Sophocles, and conferences with the instructor and for weekly Euripides), the social implications of Roman individual tutorials with a language assistant. domestic architecture, and a comparison of Euripides’ Hippolytus with Racine’s Phèdre. Other courses of interest are listed below. Full Greek and Latin will be especially beneficial orf descriptions of the courses may be found under the students interested in related disciplines, including appropriate disciplines. religion, philosophy, art history, archaeology, history, political science, English, comparative literature, and Japanese Literature: Ancient Myths to Early Modern medieval studies, as well as education, law, Tales (p. 89), Sayuri I. Oyama Literature medicine, and business. Greek and Latin can also Japanese Literature: Modern to Contemporary prove valuable to all those who wish to enrich their Literature (p. 91), Sayuri I. Oyama Literature imagination in the creative pursuits of writing, Translation Studies: Poetics, Politics, Theory, and dance, music, visual arts, and acting. Practice (p. 91), Bella Brodzki Literature Buddhist Meditation in East Asia (p. 140), T. Griffith Foulk Religion Beginning Latin Japanese Religion and Culture (p. 138), T. Griffith Emily Katz Anhalt Foulk Religion Open, Seminar—Year Religion in Contemporary Japan (p. 140), T. Griffith This course provides an intensive introduction to Foulk Religion Latin grammar, syntax, and vocabulary—with a view toward reading the language as soon as possible. Close reading of Vergil’s Aeneid in English will accompany intensive language study in the fall. By LATIN midsemester, students will be translating authentic excerpts of Latin poetry and prose. During the spring The Sarah Lawrence College classics program semester, while continuing to develop and refine emphasizes the study of the languages and their knowledge of Latin grammar and vocabulary, literature of Ancient Greece and Rome. Greek and students will read selections of the Aeneid in Latin. Latin constitute an essential component of any humanistic education, enabling students to examine the foundations of Western culture and explore Intermediate Latin timeless questions concerning the nature of the Samuel B. Seigle world, the place of human beings in it, and the Intermediate, Seminar—Year components of a life well lived. In studying the This course has two aims: 1) to develop the student’s literature, history, philosophy, and society of the ability to read Latin intelligently and fluently, and 2) Ancient Greeks and Romans, students come to to give the student a general understanding of appreciate them for themselves, examine the Roman history and Latin literature. The course continuity between the ancient and modern worlds, should prove particularly useful as background to and, perhaps, discover “a place to stand”—an students contemplating graduate study in any objective vantage point for assessing modern culture. 82 Latin American and Latino/a Studies branch of Western literature. The authors to be read As this program is concerned with a broad set will be determined at the time of registration. of border crossings, faculty in LALS are also Permission of the instructor is required. committed to expanding educational experiences beyond Sarah Lawrence College. Accordingly, Advanced Latin students are encouraged to study abroad through Sarah Lawrence College programs in Cuba, Argentina, Samuel B. Seigle and Peru or with other programs in Latin America. Advanced, Seminar—Year Students will also have opportunities to explore the This course has two aims: 1) to extend the student’s borderlands closer to Sarah Lawrence College, ability to read classical Latin, and 2) to deepen the including Latino communities in New York City and student’s appreciation of the literary traditions of Westchester County. the Romans. The authors to be read will be determined at the time of registration. Permission of Courses offered in related disciplines this year are the instructor is required. listed below. Full descriptions of the courses may be found under the appropriate disciplines. Other courses of interest are listed below. Full Specters of the Subject: Hauntologies of Ghosts, descriptions of the courses may be found under the Phantasms, and Imaginings in Contemporary appropriate disciplines. Life (p. 7), Robert R. Desjarlais Anthropology “A Talent for Every Noble Thing”: Art, Architecture in Understanding Experience: Phenomenological Italy, 1300-1600 (p. 11), Joseph C. Forte Art Approaches in Anthropology (p. 5), Robert R. History Desjarlais Anthropology Beginning Greek (p. 65), Samuel B. Seigle Greek Indigenous Mobilities (p. 5), Deanna Barenboim (Ancient) Anthropology Defeating Despotism: Essential Strategies From Spaces of Exclusion, Places of Belonging (p. 6), Ancient Greek and Roman Epic Poetry (p. 88), Deanna Barenboim Anthropology Emily Katz Anhalt Literature Political Economy of Women (p. 38), Kim Christensen Economics Microeconomic Theory and Policy: Advanced Topics (p. 40), Jamee K. Moudud Economics LATIN AMERICAN AND LATINO/A Food, Agriculture, Environment, and STUDIES Development (p. 61), Joshua Muldavin Geography The Latin American and Latino/a Studies (LALS) Introduction to Development Studies: The Political program is devoted to the interdisciplinary Ecology of Development (p. 62), Joshua investigation of Latin American, Caribbean, and Muldavin Geography Latino cultures, politics, and histories. Through a Making Latin America (p. 68), Margarita Fajardo variety of disciplines, students will have History opportunities to explore the vibrant cultural life of Right and Left in Latin America (p. 74), Margarita Latin American and Caribbean countries, as well as Fajardo History the experiences of the Latino communities in the Drugs, History, and Politics in Latin America and United States. Beyond (p. 74), Margarita Fajardo History Course offerings will include language, Body Politics: A Cultural History of the United literature, dance, film, music, art, and other cultural States (p. 75), Lyde Cullen Sizer History expressions as a way to familiarize the students with First-Year Studies: (Making) World Literature (p. 85), a world that is rich in imagination, powerful in social Heather Cleary Literature impact, and defiant of the stereotypes usually The Experiences of Immigrant Children (p. 131), imposed upon it. Students will also interrogate the Rochelle Cassells Psychology complex political dynamics involved in such Immigration, Race, and the Making of the United processes as (post)colonialism, migration, States: An Immigration Policy revolution, social movements, citizenship, and the Perspective (p. 136), Luisa Laura Heredia Public cultural politics of race, gender, sexuality, and class. Policy The histories of conquest, colonialism, development, Intermediate Spanish II (p. 149), Isabel de Sena and resistance in the area also require broad inquiry Spanish into the often turbulent and violent realities of Beginning Spanish: At the Movies (p. 148), Heather political economic forces. Cleary Spanish THE CURRICULUM 83

Advanced Spanish: Introduction to the gay and women’s liberation movements Literature (p. 149), Eduardo Lago Spanish articulated a political analysis of sexuality. Over the Beginning Spanish (p. 148), Eduardo Lago Spanish past 50 years, that political analysis—and the Intermediate Spanish I: Latin America, a Mosaic of activism it continues to foster—have had profound Cultures (p. 149), Priscilla Chen Spanish consequences, even as earlier understandings still First-Year Studies: The New Narrative shape LGBT lives and cultural presences. This course Photography (p. 165), Joel Sternfeld Visual and will serve as an introduction to a broad range of Studio Arts modern literature; to fundamental works in the The Ideas of Photography (p. 170), Joel Sternfeld history of sexuality and contemporary queer studies; Visual and Studio Arts and to critical thinking about how we talk, read, and What’s the Story? A Radio Journalism Class (p. 178), write about sex. Conference work may be focused on Sally Herships Writing any period from the 19th century to the present.

Queer Americans: Henry James, LESBIAN, GAY, BISEXUAL, AND Gertrude Stein, Willa Cather, and TRANSGENDER STUDIES James Baldwin Julie Abraham Lesbian, Gay, Bisexual, and Transgender Studies Sophomore and above, Seminar—Fall (LGBT) is an interdisciplinary field that engages Queer Americans certainly, James, Stein, Cather, and questions extending across a number of areas of Baldwin each fled Americ“ a.” James (1843-1916) and study. Sarah Lawrence College offers students the Stein (1874-1946) spent their adult lives in Europe. opportunity to explore a range of theories and issues Cather (1873-1947) left Nebraska for Greenwich concerning gender and sexuality across cultures, Village—after a decade in Pittsburgh, with a judge’s categories, and historical periods. This can be daughter along the way. Baldwin (1924-1987) left accomplished through seminar course work and Harlem for Greenwich Village, then the Village for discussion and/or individual conference research. Paris. As sexual subjects and as writers, these four could hardly appear more different; yet Stein First-Year Studies: The Invention described James as “the first person in literature to of Homosexuality find the way to the literary methods of the 20th Julie Abraham century,” Cather rewrote James to develop her own Open, FYS—Year subjects and methods, and Baldwin found in James’s Different historians trace the invention of writings frameworks for his own. In the second half homosexuality to different historical moments from of the 19th century and the first half of the 20th, the 16th to the mid-19th centuries. The invention of James, Stein, and Cather witnessed the emergence heterosexuality, it would seem, followed after. of modern understandings of homosexuality and Certainly the term "heterosexual" appeared only made modern literature, each pushing boundaries, after the term “homosexual” was coined in the latter always in subtle or dramatic ways. (Stein, for 19th century. Neither meant, at first, what they example, managed to parlay the story of her Paris mean today. In this class, we will study the life with Alice B. Toklas into an American bestseller development of modern understandings of same-sex in 1933.) In the second half of the 20th century, desire in relation to understandings of sex, gender, Baldwin began to dismantle modern understandings race, class, nation, nature, culture, and opposite-sex of sexuality and of literature. Examining the desire. We will be drawing centrally on literary development of their works side by side will allow us works, especially novels, which have been crucial to push the boundaries of lesbian/gay/queer cultural sites for the construction and dissemination of analyses by pursuing different meanings “queer” conceptions of sexuality. But we will also be reading and “American” through an extraordinary range of histories, science, laws, letters, and polemics—and subjects and forms. Beginning with James on gender, watching films. Although ew will be considering vulnerability, and ruthlessness, this course will some earlier materials, we will focus on two periods: range from Cather’s pioneers and plantations to first, from the 1880s to the 1960s; then, from the Stein on art and atom bombs and Baldwin on sex and 1960s to the present. By the 1880s, almost everyone civil rights. We will read novels, novellas, stories, agrees, a recognizably modern understanding of essays, and memoirs by James, Cather, and Baldwin, homosexuality was becoming available. The sexual/ plus Stein’s portraits, geographical histories, cultural landscapes that subsequently developed lectures, plays, operas, and autobiographies. Literary were not radically rearranged until the 1960s, when and social forms were both inextricable and 84 Literature inseparable from the gender and cross-gender Political Economy of Women (p. 38), Kim Christensen affiliations and the class,ac r e, and ethnic Economics differences that were all urgent matters for these Body Politics: A Cultural History of the United four. James’s, Stein’s, Cather’s, and Baldwin’s lives States (p. 75), Lyde Cullen Sizer History and works challenge most conventional assumptions 17th-Century British Literature (p. 88), William about what it meant—and what it might mean—to Shullenberger Literature be a queer American. Conference projects may First-Year Studies: Fops, Coquettes, and the include historical and political, as well as literary, Masquerade: Fashioning Gender and Courtship studies, focusing on any period from the mid-19th From Shakespeare to Austen (p. 85), James century to the present. Horowitz Literature An Introduction to Statistical Methods and Queer Theory: A History Analysis (p. 95), Daniel King Mathematics Virtually Yours: Relating and Reality in the Digital Julie Abraham Age (p. 126), Meghan Jablonski Psychology Sophomore and above, Seminar—Spring Emerging Adulthood (p. 128), Linwood J. Lewis Queer theory emerged in the United States, in Psychology tandem with Queer Nation, at the beginning of the Queer Bodies: A Cultural History of Medical and 1990s as the intellectual framework for a new round Scientific Knowledge (p. 146), Sarah Wilcox in ongoing contests over understandings of sexuality Sociology and gender in Western culture. “Queer” was First-Year Studies: The New Narrative presented as a radical break with homosexual, as Photography (p. 165), Joel Sternfeld Visual and well as heterosexual, pasts. Queer theorists and Studio Arts activists hoped to reconstruct lesbian and gay The Ideas of Photography (p. 170), Joel Sternfeld politics, intellectual life, and culture; renegotiate Visual and Studio Arts differences of gender, race, and class among What’s the Story? A Radio Journalism Class (p. 178), lesbians and gay men; and establish new ways of Sally Herships Writing thinking about sexuality, new understandings of sexual dissidence, and new relations among sexual dissidents. Nevertheless, queer theory had complex sources in the intellectual and political work that LITERATURE had gone before. And it has had, predictably, unpredictable effects on subsequent intellectual and The literature discipline introduces students to the political projects. This class will make the history of history of written culture from antiquity to the queer theory the basis for an intensive study of present day, as well as to methods of research and contemporary intellectual and political work on textual analysis. Course offerings cover sexuality and gender. We will also be addressing the major works in English and other languages in fundamental questions raised by the career of queer addition to literary criticism and theory. Some theory about the relations between political courses focus on individual authors (Virgil, movements and intellectual movements, the politics Shakespeare, Woolf, Murakami); others, on literary of intellectual life, and the politics of the genres (comedy, epic), periods (medieval, academy—in the United States in particular—over postmodern), and regional traditions (African the past half-century. For students with a American, Iberian). Students are encouraged to background in women's, gender, or LGBT studies. employ interdisciplinary approaches in their research and to divide their time between past and Courses offered in related disciplines this year are present, as well as among poetry, prose, drama, and listed below. Full descriptions of the courses may be theoretical texts. found under the appropriate disciplines. First-Year Studies: Romanticism Specters of the Subject: Hauntologies of Ghosts, to Modernism in English-Language Phantasms, and Imaginings in Contemporary Poetry Life (p. 7), Robert R. Desjarlais Anthropology Understanding Experience: Phenomenological Neil Arditi Approaches in Anthropology (p. 5), Robert R. Open, FYS—Year Desjarlais Anthropology The first half of this oursec will explore the work of Faking Families: How We Make Kinship (p. 5), Mary A. the most influential poets writing in English in the Porter Anthropology time between the French Revolution and the American Civil War. One of the goals of the course is THE CURRICULUM 85 to demonstrate the ways in which modern poetry Individual conference projects may draw on a variety originated in this period. In the wake of the French of themes related to questions of travel and Revolution, Blake and Wordsworth, among others, literature in diverse times and places, which invented a new kind of poetry that largely culminates in a longer research paper on a specific internalized the myths that they had inherited from literary topic. Individual conference meetings will literary and religious traditions. The poet’s inner life alternate biweekly with small-group conference became the inescapable subject of the poem. In the meetings (approximately four students per group), second half of the course, we will trace the impact which will provide an ongoing writing workshop of 19th-century Romanticism on subsequent environment running parallel to the seminar. In generations of poets writing in English, with these small-group meetings, we will discuss particular attention to the first half of the 20th individual conference projects, as well as read and century. Our preeminent goal will be to appreciate comment on each other’s seminar essays. The each poet’s—indeed, each poem’s—unique writing workshop will also include several contribution to the language. Our understanding of excursions to nearby sites and offer a variety of brief literary and historical trends will emerge from the informal exercises on elements of travel writing and close, imaginative reading of texts. Authors will other creative nonfiction. include: Blake, Wordsworth, Coleridge, Shelley, Keats, Whitman, Dickinson, Tennyson, Robert Browning, First-Year Studies: (Making) World Christina Rossetti, Hardy, Frost, Stevens, Yeats, and T. S. Eliot. Literature Heather Cleary Open, FYS—Year First-Year Studies: Questions of Translation is the lifeblood of literary culture. Travel: Writing Place, Writing Translation can also have extraordinary political Movement significance, especially in historical moments when Una Chung worldviews narrow, borders expand, and difference Open, FYS—Year is treated as a threat. In this seminar, we will read We will begin with an image of a city, Alexandria, as canonical works and celebrated contemporary it emerges across a century in the literary works of novels from around the world by writers—including Lawrence Durell, E. M. Forster, Constantine Cavafy, Jorge Luis Borges, Yoko Tawada, Gustave Flaubert, Nagib Mahfouz, Ibrahim Abdel Meguid, Edwar al- Ananda Devi, Franz Kafka, Samanta Schweblin, Kharrat, Stratis Tsirkas, Andre Aciman, and Amitav Roberto Bolaño, Valeria Luiselli, and many Ghosh. The city belongs to multiple intersecting more—reflecting on the literary dimensions of these histories, literary geneaologies, intimate archives of texts as we also think about questions of translation, memories and sensations, and the many appearing, circulation, creativity, and consecration. In the disappearing, and non-appearing lives of process, students will not only learn how to analyze Alexandrians, travelers, migrants, poets. We will literature, identifying tone or style and building pursue the elusive figure of the city while examining arguments around plot elements or imagery but will some of the historical forces of the 20th century also develop frameworks for thinking about which that have taken part in shaping the particular texts make their way into English and how they do qualities of this place. We will learn how to think so. The course will combine one-on-one conference critically about historical and social contexts, to work with group activities and exercises designed to research literary and cultural histories relevant to introduce students to the resources available to our primary texts, and to write scholarly essays them on campus, take advantage of New York City’s centering on literary analysis. The second part of the cultural offerings, and improve their analytic and course turns to the figure of the road in novels, expository writing skills with workshops. memoirs, and travel writing by Jack Kerouac, Che Guavara, Graham Greene, Antal Szerb, Jean Giono, First-Year Studies: Fops, Yoko Tawada, Andrew Pham, Ma Jian, Jamaica Coquettes, and the Masquerade: Kincaid, Edwidge Danticat, Meena Alexander, Michael Ondaatje, Michelle de Kretser, Noo Saro-Wiwa, and Fashioning Gender and Courtship Teju Cole. We will take a comparative approach to From Shakespeare to Austen these texts, inquiring into the purposes of travel, the James Horowitz constitution of different kinds of roads, the nature of Open, FYS—Year the journey undertaken, and the worldview evoked This section of first-year studies traces the by the narration of the traveler’s experience. representation of gender difference and romantic 86 Literature attachment on the page and stage from 1590 to the stuff of omancr e continued to be developed, 1820, a crucial period in the consolidation of modern revised, and subjected to the scrutiny of laughter assumptions about sexuality, marriage, and during the intervening centuries. In class discussion, gendered behavior. The emphasis will be on drama our focus is on understanding the human and prose fiction; but ew will also sample a range of experiences that these texts portray. To do this, we other expressive forms, including lyric and narrative need to uncover the assumptions and methods that poetry, visual satire and portraiture, conduct medieval writers and readers brought to literary literature, and life-writing. Along the way, students creation and to reconstruct, as best we can, the will be introduced to some of the most compelling material and imaginative worlds of the Middle figures in European literature, all of whom share an Ages—captivatingly strange yet surprisingly interest in the conventions of courtship and the recognizable. performance of gender: John Milton, the foremost epic poet in the language (we will read Paradise Lost First-Year Studies: 20th-Century in its entirety); Aphra Behn, England’s first professional female author; bawdy comic Italian Literature playwrights like George Etherege and William Tristana Rorandelli Wycherley; the innovative early novelists Eliza Open, FYS—Year Haywood, Daniel Defoe, and Samuel Richardson; the The course will explore 20th-century Italian masterful verse satirist Alexander Pope; the literature, focusing on important literary figures, pioneering periodical writers Joseph Addison and works, and movements (e.g., futurism, neorealism) Richard Steele; the cross-dressing memoirist that helped shape the century. Italy had become a Charlotte Charke; and Mary Wollstonecraft, the unified nation in 1860, and its literature addressed founder of modern feminism. Bracketing the issues such as (national and personal) identity, yearlong course will be extended coverage of the two tradition, innovation and modernity, the role of most influential authors of ourtshipc narratives in literature and of the writer, and the changing role of English, William Shakespeare and Jane Austen. women in Italian society. We will also explore the Additional attention will be paid to earlier writers on interrelation between Italian literature and crucial sex and marriage, such as Ovid and St. Paul, as well historical events such as the Great War, the rise and as to contemporary work in queer theory and gender fall of Fascism, World War II, the Resistance, the birth studies. We will also consider select films that of the Republic, the postwar economic boom, the reflect the legacy of early modern fictions of gender students’ and women’s movements of the 1960s and by directors like Frank Capra and Alfred Hitchcock. ’70s, and the terrorism of the “Anni di Piombo.” We Please note that this course will necessarily include will examine sources ranging from manifestos and candid discussions of sensitive subject matter, propaganda to poetry, fiction (novels and short including sexual violence. stories), memoirs, and diaries; the main focus, however, will be on the novel. Texts will include those authored by Gabriele D’Annunzio, Ignazio First-Year Studies: Comedy and Silone, Vasco Pratolini, F. T. Marinetti, Italo Svevo, Romance in the Middle Ages Grazia Deledda, Sibilla Aleramo, Alba de Céspedes, Ann Lauinger Alberto Moravia, Anna Banti, Natalia Ginzburg, Elsa Open, FYS—Year Morante, and Italo Calvino. Readings will be Knights and ladies, quests and combats, magic and supplemented by secondary-source material that love...these ingredients of medieval literary romance will help outline the social, historical, and political have been around for a thousand years and are still context in which those authors lived and wrote, as going strong today. But did these motifs mean well as provide relevant critical frameworks for the something different in the medieval world? What study of their works. Individual conferences will be accounts for their enduring appeal? We begin in the held every other week; conference topics might 12th century with an introduction to romance in both include the study of a particular author, literary text, male and female perspectives from Marie de France, or topic relevant to the course and that might be of Chrétien de Troyes, and the troubadour poets. We end interest to the student. On alternate weeks, we will in the late 15th century with selections from Sir have group activities that may include film Thomas Malory’s Morte D’Arthur, the definitive screenings, museum visits, and talks relevant to the version of King Arthur in English. The rest of our week’s topics. No previous knowledge of Italian is texts—including the story of Tristan and Iseult, love required. poetry by Dante and Petrarch, and narratives by the Gawain poet and Chaucer—enable us to explore how THE CURRICULUM 87 The Bible and Literature drawing on a variety of methods of cultural criticism, including Marxist, postcolonial, and William Shullenberger feminist theories (e.g., Stuart Hall, Eve Sedgwick, Open, Lecture—Year Judith Butler, Donna Haraway, Roland Barthes, Michel The Bible: the story of all things, an epic of human Serres, Saba Mahmoud, Francois Jullien, Barry Allen, liberation and imaginative inspiration; a riven and Shigehisa Kuriyama, Yuk Hui). The premise of this riveting family saga that tops all others in its course is that the cultural contexts for digital-media depiction of romance, intrigue, deception, seduction, use in our society are quite open-ended and subject betrayal, existential dread, love, reconciliation, and to constant change. Rather than an extension of the redemption; an account, as one commentator ideological apparatuses animating mass media of described it, of God’s ongoing “lover’s quarrel” with the early to mid-20th century, it may be that the humanity; a primary source book for major literature contemporary cultural formations surrounding across the planet, still powerful in its influence on digital media are articulated in complex new ways. the style and subject matter of both prose and The very ambiguousness of the common designation poetry. In the first erm,t this course will provide of “new media” is, thus, an appropriate umbrella close readings of major biblical narratives and term for this course, in that new media include poetry in Hebrew and Christian scriptures. Lectures emergent forms of resistance to the digital-culture will explore and interpret a number of patterns and industry—from hackers to slow food to analog love. literary types: the major historical narratives of both This is an open lecture that introduces a wide range scriptures; the poetics and speech acts of creation, of topics in new-media studies but is not an blessing, promise, covenant, curse, and redemption; introduction to the methods of cultural studies (see the visionary prophetic tradition from Moses to John, History and Fantasy). Also, this is not a media/film the writer of the Apocalypse; the self-reflective history course. theological interpretations of history by Hebrew chroniclers and the New Testament letters of Paul; the sublime poetry of the Psalms, the Song of Songs, Literary Visions From Antiquity to and the Apocalypse of John; and the dark wisdom of the Middle Ages the Book of Job and of Ecclesiastes. The second term Gillian Adler will study the work of major writers who have Open, Seminar—Year grounded their own work in biblical themes, In dream books and visionary narratives from narrative patterns, characters, and images and who antiquity to the Middle Ages, characters travel have so transformed their biblical sources as to through imaginative alternate worlds that test the challenge their readers to rethink what scripture is boundaries of ordinary human experience and and how it works. Selections will be drawn from the provide insights into their own realities. Such work of Dante Alighieri, John Milton, John Bunyan, narratives of mental adventure and wonder inspired William Blake, Herman Melville, Franz Kafka, Sigmund elaborate dream theories and attributed great Freud, Zora Neale Hurston, William Faulkner, and Toni authority to the poet’s subjectivity. This course will Morrison. If there is enough interest in the class, examine the tradition of literary visions, from there will be a “Bible Blockbusters” film series on Cicero’s Dream of Scipio to the late medieval poem Sunday evenings during the spring term. Pearl, using an interdisciplinary method that situates texts within their historical, theological, and Self-Experimentation: Cultures of manuscript contexts. Our study will highlight the New Media formal conventions of the vision genre but also will reveal how many authors resisted a circumscribed Una Chung form to explore various contentious political, social, Open, Lecture—Spring and religious ideas. This cultural-studies course explores the world of contemporary new-media culture and electronic arts. We will analyze key aspects of digital The Literature of Fact: Journalism media—such as screen, interface, network, and Beyond procedural rhetoric, and game—in relation to both Nicolaus Mills technical apparatuses and intellectual genealogies Open, Seminar—Year related to critical concepts such as writing, capture, The last 60 years have been boom times for image, speed, sensation, and affect. Michel nonfiction writing. rF om investigative reporting to Foucault’s work on notions of self-referentiality and memoirs, the literature of fact has thrived. Writers self-cultivation will provide both a historical and a have found that, as the late Tom Wolfe observed, it is theoretical focal point for a diverse set of readings 88 Literature possible to turn out nonfiction as lively as fiction Medieval Romance: The Quest in and, in the process, capture the history of one’s own Courtly and Popular Poetry times. The aim of this course is to explore nonfiction in a variety of forms and for students to write Gillian Adler nonfiction of their wn.o The course will focus on Open, Seminar—Fall basic reporting, memoirs, op-eds, reviews, profiles, In 12th-century France, the term romanz, or romance, and long-form journalism. Students will do writing of was more linguistic than literary, referring to the their own that matches the kind of writing being vernacular writings that emerged as an increasingly studied at the time. The course will begin by popular alternative to Latin works. Yet, romance emphasizing writing technique and move on to quickly developed into an expansive and fluid genre longer assignments in which research, interviews, of fiction encompassing marvelous subjects, from and legwork play an increasingly important role. The monstrous knights and axe-bearing green men to writers studied will range from James Baldwin and holy dogs and shape-shifting heroes. In this course, George Orwell to Joan Didion and Gay Talese. This the focal point of the quest in medieval romance will course is not for students with remedial writing invite us to travel with knightly characters beyond problems or with difficulty meeting deadlines. At the familiar society and into magical or uncanny worlds. time of their interviews, students must bring with We will consider how romances provided literary them short samples of their written work. entertainment to readers across a social spectrum, blurring traditional scholarly boundaries between courtly and popular forms, and how they examined 17th-Century British Literature contemporary conflicts of eligiousr faith, courtship William Shullenberger and marriage, ethical conduct, political authority, Open, Seminar—Year and national identity. Texts will include Middle In England during the 17th century, the great English and Old French texts in translation. Reading ordering coherences of medieval and earlier stories shared across the Channel, we will think Renaissance thinking seemed to disintegrate under about the importance of translation, adaptation, and the warring impulses of individualism and authority, intertextuality in medieval literary culture. empiricism and faith, and revolutionary transformation and reinforcement of tradition. Yet, Defeating Despotism: Essential even as monarchy and established church were challenged and torn apart, the 17th century Strategies From Ancient Greek and produced an extraordinary flowering of drama, Roman Epic Poetry poetry, and prose that expressed the contradictory Emily Katz Anhalt energies of the period. This course will study English Open, Small seminar—Fall writing of the 17th century in a roughly chronological Fearing tyranny, the framers of the US Constitution sequence. The first semester will explore the in the 18th century drew vital lessons from Ancient aesthetics and ideology of the Stuart court and the Greek democracy (508-322 BCE) and the Roman robust and bawdy urban center of London through a Republic (509-27 BCE). Before and during the Greeks’ reading of masques and plays by Jonson and and Romans’ radical and unprecedented Shakespeare and their contemporaries; dramatic experiments in broader political participation, and meditative experiments in “metaphysical” and Ancient Greek and Roman epic poetry shaped moral verse by John Donne, Ben Jonson, Aemilia cultural attitudes regarding the use and abuse of Lanyer, George Herbert, and other poets; various power. As the modern world drifts backward in the developments in scientific, philosophical, and 21st century toward various forms of dictatorship meditative prose by Francis Bacon, Richard Burton, and authoritarian populism, Homer’s Iliad and and Thomas Browne; and the early poetry of John Odyssey and Vergil’s Aeneid can help arm us against Milton. The second semester will study major writing the tyrants we might serve and the tyrants we might in the period of the English Revolution and become. Students will read all three epics in their Restoration. Our focus will be on Milton, but we will entirety in English translation. With the permission also study the poetry of the Cavaliers, Katherine of the instructor, qualified students may opt to take Philips, Andrew Marvell, and John Dryden and the this course as Intermediate or Advanced Greek and prose of Thomas Hobbes, John Bunyan, Aphra Behn, will do conference work in Greek at the appropriate and Margaret Cavendish. Prerequisite: At least one level. Greek conferences will meet twice each week year of a college-level class in the humanities or a either individually or in small groups to suit each strong AP course in literature. THE CURRICULUM 89 student’s needs/abilities. In conference, students will that time, the country waged successful war against develop their comprehension of ancient Greek by dictatorship on two fronts, engineered a New Deal close reading of selected texts. for Americans, and ratified legislation barring acialr segregation in public schools. The country had also African American Literature: developed and dropped the atomic bomb on two cities, conducted remorseless and punitive Doing It for the Culture: Journeys investigations into “un-American” activities, and Into Revelation, Aspiration, and routinely practiced blatant racial and gender Soul discrimination. Not by happenstance is its theatre of Marcus Anthony Brock this time rich in joy and devastating in self- Open, Seminar—Fall reflection. On the one hand, ew will examine the Is it possible to teach or produce African American wonderful and complex musical collaborations of literature without discussing black identity, the Richard Rodgers with Lorenz Hart and Oscar African, or the experiences within the diaspora? For Hammerstein Jr., as well as the work of Frank students of literature and ethnic studies, “literature” Loesser, Leonard Bernstein, and Meredith Willson. On can connote fine lines; but African American the other, we will consider the searching dramas of literature, and those who write within it, are created Clifford Odets, Tennessee Williams, Arthur Miller, within a specific history. Thus, how does literature William Inge, and Lorraine Hansberry. Our questions provide a space for sustaining the cultural traditions will be their questions: What price paradise? How of African Americans? Socioeconomics? Race real if “golden”? Can the cowman and the farmer be relations? Interracial relations? Queer black bodies? friends? Possible conference work may involve the Blackness as pathology? And blackness as the novel, poetry, film, adio,r and that revolutionary hopeful future? Throughout the semester, we will phenomenon, television, of the period. read and dissect literature and the poetics of song and images that tend to provoke the aforementioned Japanese Literature: Ancient questions while also understanding the significant Myths to Early Modern Tales difference in vernacular within the field. African American literature is always in discourse with the Sayuri I. Oyama relationships of Africans, blacks, and African Open, Seminar—Fall Americans within the greater American society; This course is an introduction to the richness and thus, the authors are interpreted within a political diversity of Japanese literature from its earliest conversation about the black body. In addition to the written records in the eighth century to the late 18th author, the reader is also in dialogue with the text century. From early myths of deities procreating the islands of Japan, to poetry that “takes the human and the modern world while simultaneously drawing on the two. This course starts with a theme on heart as its seed,” to epic tales of imperial courtiers “chains” as we look to writings of the 18th and 19th and samurai warriors, to essays by Buddhist recluse centuries, but the course will end in monks, to drama of the puppet theatre and Noh Afrofuturism—as a rumination. Perhaps African theatre, we will explore a variety of genres of American literature is not only about the study of Japanese literature and its development. Course literature or poetics but also steeped within assignments will include short, weekly writing Afrofuturism. Better yet, let us turn to high priestess assignments on course readings, two class papers, of soul Nina Simone in her reification of Work Song discussion questions for one seminar, and (Chain Gang): I’ve been working And working But I conference work. For students with Japanese still got so terribly far to go. language skills, conference work may incorporate readings in Japanese. No previous background in Japanese studies is required for this course. Theatre in America I: The Golden Age Forms and Logic of Comedy Joseph Lauinger Fredric Smoler Open, Seminar—Fall Open, Seminar—Fall In the mid-1930s, the United States was struggling Comedy is a startlingly various form, and it operates with the Great Depression—and its destiny seemed with a variety of logics. It can be politically economically, politically, and morally questionable. conservative or starkly radical, savage or gentle, By the end of the 1950s, the United States was the optimistic or despairing. In this course, we will richest and most powerful country in the world, explore some comic modes—from philosophical styling itself as “the leader of the free world.” During 90 Literature comedy to modern film—and xe amine a few course will encourage visits to see reliquaries and theories of comedy. A tentative reading list for the other saintly artifacts housed in New York to first semester includes a Platonic dialogue (the complement our classroom study of the textual and Protagoras), Aristophanes, Plautus, Juvenal, Lucian, material remains of saints. Shakespeare, Molière, some Restoration comedy, and Fielding. In the second semester, we may read Jane Theatre in America II: The Age of Austen, Stendhal, Dickens, Mark Twain, Oscar Wilde, Kingsley Amis, Philip Roth, and Tom Stoppard. We will Revolt also look at film and artc oons. Both semesters’ Joseph Lauinger reading lists are subject to revision. Open, Seminar—Spring Nicholas Ray's great film of 1955, Rebel Without a Cause, sounded an alarm signal of unrest in a time of British and Irish Modernisms national self-congratulation; or, as a later musical Fiona Wilson would phrase it, “What's the matter with kids Open, Seminar—Fall today?” The “kids,” as it happened, were not merely This course addresses the creative ferment in British teenagers driven by sex, fast cars, and rock-and-roll. and Irish literature in the opening decades of the They were experimenters, doubters, seekers, 20th century. We begin with a thorough exploration absurdists; they were women, African Americans, of the Irish Literary Renaissance, examining how immigrants; gay, angry, dangerous, “funny.” The that remarkable cultural movement contributed to voices of musical theatre sing with dissonance and the Easter Rising of 1916 and, later, to the birth of complex irony (Stephen Sondheim) or shout with the Irish Free State. We then examine the profound frenzy (Hair). Plays deliberately unsettle and confuse shock of the Great War and its impact on British (Edward Albee), rage (Amiri Baraka), challenge writers. How did those events shape the mood of (Maria Irene Fornes), mystify (Sam Shepard), tease crisis and metamorphosis so marked in the literature (Harvey Fierstein), and snarl (Jane Chambers, David of the period? How did poets, novelists, and Mamet)—often all of the above. The relation playwrights seek to express contemporary life between performance and audience is drawn into through literary experiment? While our conversation question (Joseph Chaikin, Judith Malina), and genres will be centered on Modernist masterpieces by W. B. are collapsed. The Cold War, aggression in Viet Nam, Yeats, James Joyce, Virginia Woolf, and T. S. Eliot, we and the bitter battles over civil rights suddenly may also read works by J. M. Synge, Lady Gregory, suggest that the American Dream is a nightmare and Sean O’Casey, Kathleen Mansfield, Ezra Pound, H. D., that theatre is a place that must be used to wake Ford Madox Ford, D. H. Lawrence, Hugh Macdiarmid, people up. To what light of day? Possible conference and others. work may involve the novel, poetry, film, elevision,t and popular music of the period. Holy Lives: Spirituality, Saints, and the Cult of Celebrity in the Middle Literature in Translation: Roland Ages Barthes and French Literature and Gillian Adler Theory (1945–2018) Open, Seminar—Spring Eric Leveau The saint in the Middle Ages fostered a cult of Open, Seminar—Spring celebrity. The rise of pilgrimage, the pervasive Roland Barthes was at the crossroads of all the fascination with relics, and sensational tales of both literary and theoretical currents that defined post martyrdom and miracle popularized saints across World War II France. His work thus constitutes an England and the Continent. This course will focus on excellent introduction to the passionate debates stories interested in the heroism, intercession, and that defined this period and will allow us to assess sacrifice of saintly figures, with readings to include the role of French theory in today’s poststructuralist Latin, Old English, and Middle English saints’ lives, as and postmodern world, both in France and in well as devotional narratives. We will consider how America. From Writing Degree Zero and S/Z to A the paradox of saints—disembodied yet concretely Lover's Discourse and Camera Lucida, we will discuss present, at a liminal position between Heaven and a variety of issues related to linguistics, Earth—might have transformed conceptions of the psychoanalysis, gender studies, and feminism but spiritual life. Taking a gendered approach, we will also the visual arts and theatre. We will study pay special attention to the narratives of heroic Barthes’ major works in dialog with philosophers and women saints and their reading communities. This theorists such as Marx, Nietzsche, Freud, Lacan, THE CURRICULUM 91

Foucault, Derrida, Deleuze and Guattari, Sontag, and Hanif Kureshi, Salman Rushdie, Alan Hollinghurst, Butler while reading, at the same time, some of the Zadie Smith, and others. This is not your mother’s literary masterpieces that kept inspiring him such as Masterpiece Theatre! Racine, Sade, Balzac, Flaubert, Proust, and Brecht. This course will be taught in English, with the Eight American Poets (Whitman to possibility of conducting conferences in French or English. Ashbery) Neil Arditi Sophomore and above, Seminar—Year Japanese Literature: Modern to American poetry has multiple origins and a vast Contemporary Literature array of modes and variations. In this course, we will Sayuri I. Oyama focus our attention on the trajectories of eight major Open, Seminar—Spring American poetic careers. We will begin with This seminar is an introduction to Japanese Whitman and Dickinson, the fountainheads of a literature from the early 20th century to the visionary strain in the American poetic tradition, contemporary period. We will move chronologically before turning to Robert Frost, Wallace Stevens, T. S. to consider how writers represented Japanese Eliot, Hart Crane, Elizabeth Bishop, and John Ashbery. modernity in its varied forms. Writers we will read Some of the poems that we will be reading are include Natsume Sōseki, Ryūnosuke Akutagawa, accessible on a superficial level and present Yasunari Kawabata, Kenzaburō Ōe, Haruki Murakami, challenges to interpretation only on closer and Banana Yoshimoto. Several films will inspection; other poems—most notably, the poems complement our readings. Course assignments will of Dickinson, Stevens, Eliot, and Crane—present include weekly short writing assignments on course significant challenges at the most basic level of readings, two class papers, discussion questions for interpretation. The major prerequisite for this course one seminar, and conference work. For students with is, therefore, a willingness to grapple with literary Japanese language skills, conference work may difficulty with passages of poetry that e,ar at times, incorporate readings in Japanese. No previous wholly baffling or highlyesist r ant to paraphrase. We background in Japanese studies is required for this will seek to paraphrase them anyway or account, as course. best we can, for the meanings that they create out of the meanings that they evade. Our central task British Literature Since 1945 will be to appreciate and articulate the unique strengths of each of the poems (and poets) that we Fiona Wilson encounter through close, imaginative reading and Open, Seminar—Spring informed speculation. British literature is often described in terms of tradition and continuity. This course departs from that to a completely different perspective that Translation Studies: Poetics, explores a literature energized by conflict, change, Politics, Theory, and Practice and remarkable variety. Reading across genres, we Bella Brodzki examine how the alleged consensus of the Sophomore and above, Seminar—Year immediate postwar period gave way to challenging Translation is the process by which meanings are questions about the nature of Britishness itself. We conveyed within the same language, as well as consider the social and cultural effects of across different languages, cultures, forms, genres, decolonization and of Cold War politics. We discuss and modes. The point of departure for this course is literary responses to the Women’s Movement, the that all interpretive acts are acts of translation, that Troubles in Northern Ireland, Thatcherism, the the very medium that makes translation European Union, the rise of Scottish and Welsh possible—language itself—is already a translation. nationalism, and the emergence of the modern Because difference, “otherness,” or foreignness is a multicultural United Kingdom. Why were Sam property of language, of every language, perhaps Selvon’s Caribbean Londoners so lonely—and what some of the most interesting problems that we will happened to their descendants? What was Belfast address revolve around the notion of “the confetti? What did it take to be a “top girl” in untranslatable.” What is it that escapes, resists, or Thatcher’s Britain? These and other questions direct gets inevitably lost in translation? And what is our conversation. Possible authors: Muriel Spark, gained? Does linguistic equivalence exist? How do Sam Selvon, Shelagh Delaney, Harold Pinter, Tom we understand the distinction between literal and Stoppard, Jean Rhys, Seamus Heaney, Caryl Churchill, figurative, formal and vernacular, expression? And 92 Literature what underlies our assumptions about the and courtship fiction, the elationshipr between the authenticity of the original text or utterance and its novel and other literary genres or modes (lyric and subsequent versions or adaptations? Although epic poetry, life-writing, allegory), novelists’ translation is certainly poetics, it is also the responses to topical subjects of debate (the slave imperfect—and yet necessary—basis for all cultural trade, the American and French Revolutions), the exchange. As subjects in a multicultural, reinvention of the novel in North America, the multilingual, and intertextual universe, all of us “live representation of consciousness, and the meaning of in translation”; but we occupy that space differently, realism. We may also consider films adapted from depending on the status of our language(s) in 18th-century fiction such as onT y Richardson’s 1963 changing historical, political, and geographic Tom Jones and Michael Winterbottom’s 2006 contexts. How has the history of translation theory Tristram Shandy: A Cock and Bull Story. and practice been inflected by colonialism and postcolonialism? How are translation and power The Making of Modern Theatre: linked in the global literary marketplace? Our readings will alternate between the work of Ibsen and Chekhov theorists and critics who have shaped what we call Joseph Lauinger translation studies and literary texts that thematize Sophomore and above, Seminar—Year or enact the process of translation, beginning with A study of the originality and influences of Ibsen and Genesis and the Tower of Babel. In addition, a Chekhov, the first semester begins with an analysis workshop component to this course, involving of melodrama as the dominant form of popular visiting members of the foreign-language faculty drama in the Industrial Age. This analysis provides and other practitioners of translation, will engage the basis for an appreciation of Ibsen, who took the students directly in the challenges of translating. complacent excitements of melodrama and Linguistic proficiency in a orf eign language is transformed them into theatrical explosions that strongly recommended. undermined every unquestioned piety of middle- class life. The effect on Strindberg leads to a new way of constructing theatrical experience. The Romance and Realism, Experiment second semester focuses on Chekhov who, in and Scandal: The 18th-Century retuning theatrical language to the pitches and Novel in English figures of music, challenges conventional ideas of James Horowitz plot. Finally, Brecht, Lorca, and Beckett introduce Sophomore and above, Seminar—Year questions about the very sensations delivered by The 18th century introduced the long, realist prose drama, plumbing its validity and intent. fictions that ew now call novels. As often with emergent literary forms, the novel arrived with an The Marriage Plot: Love and unsavory reputation; and its early practitioners Romance in Classic American and labored, often unsuccessfully, to distinguish their work from ephemeral printed news, escapist prose English Fiction romances, and pornography. It was not until the Nicolaus Mills defining achievement of authors such as Jane Sophomore and above, Seminar—Year Austen and Walter Scott, at the beginning of the next “Reader, I married him. A quiet wedding we had,” century, that the novel achieved a status as polite Charlotte Bronte’s title character exclaims in the and even prestigious entertainment. This yearlong concluding chapter of Jane Eyre. Jane’s wedding is course looks at the difficult ogr wth of the novel from quiet, but the steps leading up to her marriage with its miscellaneous origins in the mid-17th century to the man who once employed her as a governess are the controversial experiments of the early 1700s and tumultuous. By the time of Jane Eyre, we are far from the eclectic masterpieces of Daniel Defoe, Samuel the early marriage-plot novel in which suitors, Richardson, Henry Fielding, Laurence Sterne, Austen, proposals, and comic misunderstandings pave the and Scott. Other authors may include Aphra Behn, way for a joyous wedding. This course is designed to Eliza Haywood, John Cleland, Tobias Smollett, follow the evolution of the marriage plot in classic Matthew Lewis, Frances Burney, Charles Brockden 19th- and 20th-century American and English fiction. Brown, and Maria Edgeworth. Everything we read will The course opens with Jane Austen’s Emma and be arresting and restlessly experimental; much of it closes with Sylvia Plath’s The Bell Jar. The readings will also be bawdy, transgressive, and outrageously are designed to explore how both the marriage ideal funny. Topics of conversation will encompass the and the failings of marriage have been fictionally rise of female authorship, the emergence of Gothic depicted over two centuries. The first half of the THE CURRICULUM 93 course centers on a series of paired American and Studies in the 19th-Century Novel English novels: Nathaniel Hawthorne’s The Scarlet Ilja Wachs Letter and George Eliot’s Middlemarch, Charlotte Sophomore and above, Seminar—Year Bronte’s Jane Eyre and Henry James’s The Portrait of This course entails an intensive and close textual a Lady, Edith Wharton’s The House of Mirth and encounter with the novelistic worlds of the 19th- Virginia Woolf’s Mrs. Dalloway. The second half of the century realist tradition, the first fictional aditiontr course focuses on how American variations of the to accept social reality as the ultimate horizon for marriage-plot novel have expanded the tradition and human striving. The 19th-century novels that we will given it new reach. The books studied in the second study are all intensely critical of the severe half of the course will include Willa Cather’s My limitations to human wholeness and meaning posed Antonia, Ernest Hemingway’s A Farewell to Arms, F. by the new social world that they were confronting. Scott Fitzgerald’s The Great Gatsby, and Zora Neale At the same time that they accept the world as a Hurston’s Their Eyes Were Watching God. setting and boundary for human life, the novels seek to find grounds for transcending its limitations. We The Music of What Happens: will explore in these novelists’ works the tensions Alternate Histories and between accepting the world as given and seeking to Counterfactuals transcend it. At the same time, we will try to understand why—in spite of a century-and-a-half of Fredric Smoler great historical and cultural change—these novels Sophomore and above, Seminar—Year continue to speak to the issues posed by the human The alternate history imagines a different present or condition with such beauty, depth, and wisdom. We future originating in a point of divergence from our will read the works of novelists such as Tolstoy, actual history—a branching point in the past. Dostoevsky, Balzac, Stendhal, Eliot, Austen, Dickens, Alternate history is both an increasingly popular Twain, and Goethe. form of genre fiction and a decreasingly disreputable form of analysis in history and the social sciences. While fictions of alternate history were, until very Rhetoric of Place: Writing in recently, only a subgenre of science fiction, two Yonkers celebrated American “literary” novelists, Philip Roth Una Chung and Michael Chabon, have within the last four years Intermediate, Seminar—Fall written well-regarded novels of alternate history This course is part of the Intensive Semester in (The Plot Against America and The Yiddish Yonkers program and no longer open for interviews Policeman’s Union). Similarly, while counterfactual and registration. Interviews for the program take historical speculation is at least as old as Livy, place during the previous spring semester. academic historians have until recently scorned the In this seminar, we explore the concept of place practice as a vulgar parlor game; but this is through literary and art criticism, as well as beginning to change. In the early 1990s, Cambridge students’ own historical research, fieldwork, and University Press and Princeton both published direct perception. We investigate the spatial, intellectually rigorous books on alternate history and temporal, and sensory dimensions of place in diverse counterfactual analysis in the social sciences; figures: home, mythos of origin, container Cambridge more recently published a volume technologies, development timelines, migratory analyzing alternate histories of World War II; and in mapping, futurity of desire, nowhere of utopia, other 2006, the University of Michigan Press published an spaces of heterotopia, postmodern placelessness, interesting collection of counterfactual analyses queer disorientation, sacred spaces, histories of titled, “Unmaking the West.” This course will hauntings, environmental anima, affective examine a number of fictions of alternate history, geographies, and imaginary cartographies. We some reputable and some less reputable, and also examine social and political histories of Yonkers, as look at some of the academic work noted above. We well as investigate the cultural significance of both shall attempt to understand what it might mean to the architectural/urban designs of built think seriously about counterfactuals, about why environments (exterior, interior, threshold, frame, fictions of and academic works on alternate history center, periphery, etc.) and the natural histories of have become significantly more widespread, and the Hudson River. Writing assignments ask students about what makes an alternate history aesthetically to reflect on their wno relationships to place through satisfying and intellectually suggestive rather than memory, experience, and research-based knowledge, ham-fisted, flat, and profoundly unpersuasive. including the politics and poetics of presence, temporariness, and disappearance. Multimodal 94 Literature composition is part of our explorations of writing, Queer Americans: Henry James, Gertrude Stein, Willa including linguistic, visual, aural, and gestural modes Cather, and James Baldwin (p. 83), Julie of rhetoric, as well as digital tools. Abraham Lesbian, Gay, Bisexual, and Transgender Studies Other courses of interest are listed below. Full Queer Theory: A History (p. 84), Julie Abraham descriptions of the courses may be found under the Lesbian, Gay, Bisexual, and Transgender Studies appropriate disciplines. First-Year Studies: The New Elements: Mathematics and the Arts (p. 95), Philip Ording Mathematics Paris, City of Light and Violence (p. 4), Robert R. The Philosophy of Tragedy (p. 112), Michael Davis Desjarlais Anthropology Philosophy Specters of the Subject: Hauntologies of Ghosts, Philosophy as Therapy (p. 112), Abraham Anderson Phantasms, and Imaginings in Contemporary Philosophy Life (p. 7), Robert R. Desjarlais Anthropology Heidegger and the Art of Thinking (p. 112), Roy Ben- Understanding Experience: Phenomenological Shai Philosophy Approaches in Anthropology (p. 5), Robert R. How to Become Who You Are: Readings in Desjarlais Anthropology Nietzsche’s Philosophy of Life (p. 113), Roy Ben- Christians, Jews, and Muslims and the Arts of Shai Philosophy Medieval Spain: Art, Religion, and Time in Film and Philosophy (p. 113), Roy Ben-Shai Identity (p. 12), Jerrilynn Dodds Art History Philosophy Theories of Photography (p. 13), Sarah Hamill Art First-Year Studies: The Senses: Art and History Science (p. 124), Elizabeth Johnston Psychology Reading China’s Revolutions Through Fiction and Children’s Literature: Developmental and Literary Memoir (p. 16), Ellen Neskar Asian Studies Perspectives (p. 131), Charlotte L. Doyle Personal Narratives: Identity and History in Modern Psychology China (p. 16), Kevin Landdeck Asian Studies It’s Complicated: The Nature of Emotions (p. 125), Images of India: Text/Photo/Film (p. 16), Sandra Rochelle Cassells Psychology Robinson Asian Studies Readings in the Hebrew Bible: Genesis and Writing India: Transnational Narratives (p. 15), Exodus (p. 138), Cameron C. Afzal Religion Sandra Robinson Asian Studies Modern Jewish Literature (p. 140), Glenn Dynner Realisms (p. 45), Noa Steimatsky Film History Religion Intermediate III: Advanced French: French Women Intermediate Spanish II (p. 149), Isabel de Sena Writers and Molière in 17th-Century Spanish France (p. 58), Eric Leveau French Advanced Spanish: Introduction to Intermediate/Advanced Greek: Defeating Despotism: Literature (p. 149), Eduardo Lago Spanish Essential Strategies From Ancient Greek and Narrative in Contemporary Painting (p. 167), Vera Roman Epic Poetry (p. 65), Emily Katz Anhalt Iliatova Visual and Studio Arts Greek (Ancient) Advanced Interdisciplinary Studio (p. 167), Vera The Blues Ethos and Jazz Aesthetics: A History of Iliatova Visual and Studio Arts African Americans in the City (p. 73), Komozi First-Year Studies: Fake News, Real News, News That Woodard History Stays News (p. 173), Vijay Seshadri Writing Drugs, History, and Politics in Latin America and First-Year Studies: Forms and Fictions (p. 172), Myra Beyond (p. 74), Margarita Fajardo History Goldberg Writing Romantic Europe (p. 69), Philip Swoboda History Our World, Other Worlds (p. 174), Myra Goldberg The Enlightenment (p. 69), Philip Swoboda History Writing Body Politics: A Cultural History of the United Eco-Poetry (p. 181), Marie Howe Writing States (p. 75), Lyde Cullen Sizer History First-Year Studies: The House of Fiction: A Guided Beginning Italian (p. 79), Emilia Gambardella Italian Tour (p. 173), David Hollander Writing Intermediate Italian: Modern Prose (p. 80), Tristana Poetry: What Holds The Unsayable (p. 182), Marie Rorandelli Italian Howe Writing Beginning Latin (p. 81), Emily Katz Anhalt Latin The Unconscious, the Absurd, the Sublime, and the First-Year Studies: The Invention of Impossibly Probable (p. 177), Mary LaChapelle Homosexuality (p. 83), Julie Abraham Lesbian, Writing Gay, Bisexual, and Transgender Studies Nonfiction Laboratory (p. 180), Stephen O’Connor Writing Portraiture (p. 176), Rattawut Lapcharoensap Writing THE CURRICULUM 95

The Short Story (p. 174), Rattawut Lapcharoensap entire last century, we will investigate a sequence of Writing case studies, including: De Stijl and the painting of Writing Our Moment (p. 179), Marek Fuchs Writing Piet Mondrian; serialism and the music of Arnold Nonfiction orkW shop: The World and You (p. 179), Schoenberg; the Bauhaus in Germany and its legacy; Clifford Thompson Writing OuLiPo, “a secret laboratory of literary structures” in Connected Collections: Short Stories and How to Link postwar French literature; American postmodern Them (p. 177), Mary Morris Writing dance; and structural film, among others. A Kind of Haunting: A Poetry Workshop (p. 182), Mathematical topics will include sets, logic, non- Cynthia Cruz Writing Euclidean geometry, topology, and chance. A central Nonfiction orkW shop: To Tell the Truth (p. 178), goal of the seminar is to assess the meaning of Suzanne Gardinier Writing structure as it pertains to artistic and mathematical practices. This course assumes no particular expertise with mathematics or cultural history. Seminar readings and a program of art viewings will MATHEMATICS establish a basis for investigating the relevance of fundamental mathematical concepts to modern Whether they had any interest in mathematics in literature and the arts. Outside the seminar, students high school, students often discover a new will attend both individual and group conferences. appreciation for the field at Sarah Lawrence College. Weekly individual conference meetings for the first In our courses—which reveal the inherent elegance six weeks of the fall semester will give students the of mathematics as a reflection of the orldw and how opportunity to develop their first individualized it works—abstract concepts literally come to life. conference projects, focusing on a particular That vitality further emerges as faculty members mathematical structure. Individual conferences adapt course content to fit student needs, after the first six eeksw will be held on a weekly or emphasizing the historical context and philosophical biweekly basis, depending on student progress. underpinnings behind ideas and theories. During the fall semester, a series of group By practicing rigorous logic, creative problem conferences will afford students time for art solving, and abstract thought in small seminar viewings and collaborative writing and problem discussions, students cultivate habits of mind that solving. they can apply to every interest. With well- developed, rational thinking and problem-solving skills, many students continue their studies in An Introduction to Statistical mathematics, computer science, philosophy, Methods and Analysis medicine, law, or business; others go into a range of Daniel King careers in fields such as insurance, technology, Open, Lecture—Fall defense, and industry. Correlation, regression, statistical significance, and margin of error...you’ve heard these terms and other First-Year Studies: The New statistical phrases bantered about before, and you’ve Elements: Mathematics and the seen them interspersed in news reports and Arts research articles. But what do they mean? And why Philip Ording are they important? And what exactly fueled the Open, FYS—Year failure of statistical polls and projections leading up The development of linear perspective in to the 2016 US presidential election? An introduction Renaissance painting presents one of the clearest to the concepts, techniques, and reasoning central examples of the intersection of mathematics and to the understanding of data, this lecture course the arts. To paraphrase art historian Erwin Panofsky, focuses on the fundamental methods of statistical perspective recasts perceptual space as a uniform, analysis used to gain insight into diverse areas of infinite, abstract space with its own logical and human interest. The use, misuse, and abuse of aesthetic properties. The mathematics needed in statistics will be the central focus of the course; perspectival constructions was worked out by Euclid specific opicst of exploration will be drawn from in antiquity. What novel aesthetic and logical forms experimental design, sampling theory, data analysis, are made possible by the mathematics beyond and statistical inference. Applications will be Euclid’s Elements? This seminar will explore the considered in current events, business, psychology, bearing of modern mathematical ideas on 20th- politics, medicine, and other areas of the natural and century Western creative and performing arts. While social sciences. Statistical (spreadsheet) software we will not aim for a comprehensive survey of the will be introduced and used extensively in this 96 Mathematics course, but no prior experience with the technology describe and study the motion and change is assumed. Conference work will serve as a happening around us. The Ancient Greeks began a complete practicum of the theory learned in lecture: detailed study of change but were scared to wrestle Students working closely in small teams will with the infinite; so it was not until the 17th century conceive, design, and fully execute a small-scale that Isaac Newton and Gottfried Leibniz, among research study. This lecture is recommended for others, tamed the infinite and gave birth to this anybody wishing to be a better-informed consumer extremely successful branch of mathematics. of data and strongly recommended for those Though just a few hundred years old, the calculus planning to pursue graduate work and/or research in has become an indispensable research tool in both the natural sciences or social sciences. the natural and social sciences. Our study begins Mathematical prerequisite: basic high-school algebra with the central concept of the limit and proceeds to and geometry. explore the dual processes of differentiation and integration. Numerous applications of the theory will Game Theory: The Study of be examined. For conference work, students may choose to undertake a deeper investigation of a Conflict and Strategy single topic or application of the calculus or conduct Daniel King a study of some other mathematically-related topic. Open, Lecture—Spring This seminar is intended for students interested in Warfare, elections, auctions, labor-management advanced study in mathematics or sciences, negotiations, inheritance disputes, even students preparing for careers in the health sciences divorce—these and many other conflicts anc be or engineering, and any student wishing to broaden successfully understood and studied as games. A and enrich the life of the mind. Prerequisites: the game, in the parlance of social scientists and minimum required preparation for study of the mathematicians, is any situation involving two or calculus is successful completion of study in more participants (players) capable of rationally trigonometry and precalculus topics. Students choosing among a set of possible actions concerned about meeting the course prerequisites (strategies) that lead to some final esultr (outcome) are encouraged to contact the instructor as soon as of typically unequal value (payoff or utility) ot the possible. This course is also being offered in the players. Game theory is the interdisciplinary study of spring semester of this academic year. conflict, whose primary goal is the answer to the single, simply-stated, but surprisingly complex question: What is the best way to “play”? Although Calculus II: Further Study of the principles of game theory have been widely Motion and Change applied throughout the social and natural sciences, Nick Rauh their greatest impact has been felt in the fields of Open, Seminar—Fall economics, political science, and biology. This course This course continues the thread of mathematical represents a survey of the basic techniques and inquiry following an initial study of the dual topics of principles in the field. Of primary interest will be the differentiation and integration (see Calculus I course applications of the theory to real-world conflicts of description). Topics to be explored in this course historical or current interest. The minimum required include the calculus of exponential and logarithmic preparation for successful study of game theory is functions, applications of integration theory to one year each of high-school algebra and geometry. geometry, alternative coordinate systems, infinite No other knowledge of mathematics or social science series, and power series representations of is presumed. functions. For conference work, students may choose to undertake a deeper investigation of a Calculus I: The Study of Motion single topic or application of the calculus or conduct a study of some other mathematically-related topic. and Change This seminar is intended for students interested in Daniel King advanced study in mathematics or sciences, Open, Seminar—Fall students preparing for careers in the health sciences Our existence lies in a perpetual state of change. An or engineering, and any student wishing to broaden apple falls from a tree; clouds move across expansive and enrich the life of the mind. The theory of limits, farmland, blocking out the sun for days; meanwhile, differentiation, and integration will be briefly satellites zip around the Earth transmitting and reviewed at the beginning of the term. Prerequisites: receiving signals to our cell phones. The calculus one year of high-school calculus or one semester of was invented to develop a language to accurately college-level calculus. Students concerned about THE CURRICULUM 97 meeting the course prerequisites are encouraged to functions, applications of integration theory to contact the instructor as soon as possible. This geometry, alternative coordinate systems, infinite course is also being offered in the spring semester of series, and power series representations of this academic year. functions. For conference work, students may choose to undertake a deeper investigation of a Calculus I: The Study of Motion single topic or application of the calculus or conduct a study of some other mathematically-related topic. and Change This seminar is intended for students interested in Nick Rauh advanced study in mathematics or sciences, Open, Seminar—Spring students preparing for careers in the health sciences Our existence lies in a perpetual state of change. An or engineering, and any student wishing to broaden apple falls from a tree; clouds move across expansive and enrich the life of the mind. The theory of limits, farmland, blocking out the sun for days; meanwhile, differentiation, and integration will be briefly satellites zip around the Earth transmitting and reviewed at the beginning of the term. Prerequisites: receiving signals to our cell phones. The calculus one year of high-school calculus or one semester of was invented to develop a language to accurately college-level calculus. Students concerned about describe and study the motion and change meeting the course prerequisites are encouraged to happening around us. The Ancient Greeks began a contact the instructor as soon as possible. This detailed study of change but were scared to wrestle course is also being offered in the fall semester of with the infinite; so it was not until the 17th century this academic year. that Isaac Newton and Gottfried Leibniz, among others, tamed the infinite and gave birth to this extremely successful branch of mathematics. Multivariable Mathematics: Linear Though just a few hundred years old, the calculus Algebra, Vector Calculus, and has become an indispensable research tool in both Differential Equations the natural and social sciences. Our study begins Nick Rauh with the central concept of the limit and proceeds to Intermediate, Seminar—Year explore the dual processes of differentiation and This yearlong course will cover the central ideas of integration. Numerous applications of the theory will linear algebra, vector calculus, and differential be examined. For conference work, students may equations from both a theoretical and a choose to undertake a deeper investigation of a computational perspective. These three topics single topic or application of the calculus or conduct typically comprise the intermediate series of courses a study of some other mathematically-related topic. that students study after integral calculus but This seminar is intended for students interested in before more advanced topics in mathematics and advanced study in mathematics or sciences, the sciences. This course will be especially students preparing for careers in the health sciences meaningful for students interested in pure or applied or engineering, and any student wishing to broaden mathematics, the natural sciences, economics, and and enrich the life of the mind. Prerequisites: the engineering but would also be a great choice for minimum required preparation for study of the students who have completed the calculus sequence calculus is successful completion of study in and are simply curious to see how deep the rabbit trigonometry and precalculus topics. Students hole goes. While our focus will be primarily on the concerned about meeting the course prerequisites mathematics itself, the tools we will develop are are encouraged to contact the instructor as soon as useful for modeling the natural world—and we will possible. This course is also being offered in the fall look at some of those applications. Conference work semester of this academic year. will revolve around pursuing the theory or application of those topics on a deeper level, Calculus II: Further Study of according to students' personal interests. Motion and Change Prerequisite: Successful completion of Calculus II or a score of 4 or 5 on the AP Calculus BC exam. Daniel King Open, Seminar—Spring This course continues the thread of mathematical inquiry following an initial study of the dual topics of differentiation and integration (see Calculus I course description). Topics to be explored in this course include the calculus of exponential and logarithmic 98 Middle Eastern and Islamic Studies Discrete Mathematics: A Bridge to such as nowhere-differentiable continuous Advanced Mathematics functions and rearrangements of infinite series, which challenge our basic intuitions about numbers Philip Ording and the real number line. Conference work will be Intermediate, Seminar—Fall allocated to clarifying seminar ideas and exploring Your voice will produce a mostly continuous sound additional mathematical topics. Prerequisite: signal when you read this sentence out loud. As it Successful completion of a yearlong study of appears on the page, however, the previous sentence calculus. Completion of an intermediate-level course is composed of 79 distinct characters—including (e.g., Discrete Mathematics, Complex Variables, letters and a punctuation mark. Measuring Modeling I, etc.) is strongly recommended. patterns—whether continuous or discrete—is the raison d'être of mathematics, and different branches Other courses of interest are listed below. Full of mathematics have developed to address the two descriptions of the courses may be found under the sorts of patterns. Thus, a course in calculus treats appropriate disciplines. motion and other continuously changing functions. In contrast, discrete mathematics addresses First-Year Studies: Achilles, the Tortoise, and the problems of counting, order, computation, and logic. Mystery of the Undecidable (p. 27), James We will explore these topics and their implications Marshall Computer Science for mathematical philosophy and computer science. Principles of Programming Languages (p. 29), James The form of this seminar will be that of a Marshall Computer Science (mathematical) writing workshop. We will work Databases (p. 29), Michael Siff Computer Science collaboratively to identify and reproduce the key Privacy, Technology, and the Law (p. 28), Michael formal elements of mathematical exposition and Siff Computer Science proof as they appear in both mathematical literature Introduction to Computer Programming (p. 27), and each other's writing. This seminar is designed Michael Siff Computer Science for students interested in advanced mathematical Introduction to Web Programming (p. 28), Michael study and highly recommended for students with an Siff Computer Science interest in computer science, law, logic, or Econometric Analysis: Structural Explorations in the philosophy. Some prior study of calculus is highly Social Sciences (p. 38), Jamee K. Moudud recommended. Economics Classical Mechanics (Calculus-Based General Introduction to Real Analysis Physics) (p. 114), Merideth Frey Physics Electromagnetism and Light (Calculus-Based Philip Ording General Physics) (p. 115), Merideth Frey Physics Advanced, Seminar—Spring Time to Tinker (p. 115), Merideth Frey Physics The calculus of Newton and Leibniz is very different Introduction to Electromagnetism, Light, and from the calculus of modern mathematics. It took Modern Physics (General Physics Without more than a century to develop a logically defensible Calculus) (p. 115), Alejandro Satz Physics approach to the “fluxions” and “evanescent Introduction to Mechanics (General Physics Without quantities” of calculus. In a sense, the formalization Calculus) (p. 115), Alejandro Satz Physics of calculus as the study of functions of a real Quantum Mechanics (p. 116), Alejandro Satz Physics variable—real analysis—that took place in the 19th century was so successful that it became a model of the foundational rigor that would come to define mathematics as a discipline. This maturation is MIDDLE EASTERN AND ISLAMIC recapitulated in the typical undergraduate student STUDIES upon taking the step from the techniques-based calculus course to a proof-based real analysis Classes from disciplines such as art history, course. Although our topics will sound familiar to economics, geography, history, politics, religion, and calculus—real numbers, sequences and series, sociology comprise the classes available within this limits, continuity, the derivative, and the cross-disciplinary path. integral—their presentation will feature a new level of mathematical rigor. The emphasis on precise definitions and xplicite proofs is not merely to develop students’ technical abilities, though that is a desired outcome of the course. Rather, these finer distinctions will be motivated by counterexamples THE CURRICULUM 99

Courses offered in related disciplines this year are verbal system what you want or know how to say in listed below. Full descriptions of the courses may be your own language; rather, it is about learning by found under the appropriate disciplines. listening and reading and by gaining the ability to think in fundamentally different ways. Specters of the Subject: Hauntologies of Ghosts, The College offers seven modern and two Phantasms, and Imaginings in Contemporary classical languages and literatures. Students may Life (p. 7), Robert R. Desjarlais Anthropology take Chinese, French, German, Italian, Japanese, Understanding Experience: Phenomenological Russian, and Spanish from beginning to advanced Approaches in Anthropology (p. 5), Robert R. levels that equally stress the development of Desjarlais Anthropology communicative skills such as speaking, listening Christians, Jews, and Muslims and the Arts of comprehension, reading, and writing, as well as the Medieval Spain: Art, Religion, and study of literature written in these languages in Identity (p. 12), Jerrilynn Dodds Art History Europe, Africa, Asia, and the Americas. We also offer East vs. West: Europe, the Mediterranean, and Greek (Ancient) and Latin at the beginning, Western Asia From Antiquity to the Modern intermediate, and advanced levels, emphasizing the Age (p. 10), David Castriota Art History exploration of ancient texts in their original Political Economy of Women (p. 38), Kim Christensen historical, political, artistic, and social contexts and Economics encouraging an assessment of ancient works on Food, Agriculture, Environment, and their own terms as a means of elucidating both Development (p. 61), Joshua Muldavin timeless and contemporary human issues and Geography concerns. Palestine/Israel and the Politics of History (p. 71), As is the case for all seminars at Sarah Matthew Ellis History Lawrence College, our language classes are capped Classical Sufi eT xts (p. 142), Kristin Zahra Sands at 15. Students have unparalleled opportunities to Religion engage with the language in and out of Muslims in Europe (p. 139), Kristin Zahra Sands class—including individual and group conferences, Religion weekly meetings with language assistants in small Salafi and Jihadi Thought (p. 141), Kristin Zahra groups, language clubs, and language lunch tables. Sands Religion Our proximity to New York City offers terrific Sufi Sciences of the Soul (p. 139), Kristin Zahra opportunities to encounter the cultures and Sands Religion languages that we teach—through lectures, Informality and Precariousness in the City: Family, exhibits, plays, films, opera, and many other cultural Home, and the Politics of Transnational events that are readily available. Conference work in Life (p. 146), Parthiban Muniandy Sociology a language class provides an opportunity for First-Year Studies: The New Narrative students to pursue their own particular interest in Photography (p. 165), Joel Sternfeld Visual and the language. Student conference projects are Studio Arts exceptionally diverse, ranging from reading or The Ideas of Photography (p. 170), Joel Sternfeld translation, internships, or work on scholarly or Visual and Studio Arts creative writing to listening to music, watching What’s the Story? A Radio Journalism Class (p. 178), films, or the xte ended study of grammar. In Greek Sally Herships Writing (Ancient) and Latin courses, beginning students acquire in one year a solid foundation in grammar, syntax, and vocabulary. Equivalent to three courses MODERN AND CLASSICAL at other colleges and universities, one year of Greek (Ancient) or Latin at Sarah Lawrence College LANGUAGES AND LITERATURES empowers students to read ancient texts with precision and increasing facility. At the intermediate At Sarah Lawrence College, we recognize that and advanced levels, students refine their linguistic languages are, fundamentally, modes of being in the abilities while analyzing specific ancient authors, world and uniquely reveal the way that we exist as genres, or periods—often in comparison to later human beings. Far from being a mechanical tool, artists, writers, theorists, or critics. language study encourages self-examination and The interdisciplinary approach across the cross-cultural understanding, offering a vantage curriculum at Sarah Lawrence College also means point from which to evaluate personal and cultural that students can take their study of language to assumptions, prejudices, and certainties. Learning a conference work for another class; for example, new language is not about putting into another reading primary texts in the original Spanish for a 100 Music class on Borges and math, studying Russian montage 4. Concert attendance/Music Tuesdays (see or 20th-century Japanese cinema for a class on film requirements below) history, or performing German lieder or Italian opera The student, in consultation with the faculty, plans in voice class or Molière in a theatre class. The the music program best-suited to his or her needs language faculty also offers literature courses in and interests. Advanced students may, with faculty translation, so that students can choose to combine consent, elect to take two-thirds of their course of literature study with conference work in the original study in music. languages. We also sponsor an annual journal of translation, Babel, which invites submissions from First-Year Studies: The Idea of a across the College. New Style Finally, our open curriculum encourages Chester Biscardi students to plan a semester or an entire year abroad, Open, FYS—Year and a large percentage of our students spend their This seminar is a component of First Year Studies in junior year in non-English-speaking countries. In Music and will provide a forum to study a broad addition to our long-established programs in range of musical topics in both artistic and critical Florence, Catania, Paris, and Cuba, the College has ways. The course will focus on the evolution of form, recently initiated study-abroad programs in questions of aesthetics, and historical Barcelona, Peru, and Tokyo. There are also two perspective—exploring the cyclical nature of music summer programs: German Studies, Art and that mirrors philosophical and theoretical ideas in Architecture, and Dance in Berlin and Translation Ancient Greece and how that cycle appears every Studies in Buenos Aires. Our study-abroad programs 300 years: the Ars nova of the 14th century, Le nuove are usually based on a concept of “full immersion,” musiche of the 17th century, and the New Music of including experiences such as study at the local the 20th century and beyond. Class participation will university, homestays, and volunteer work in the involve listening to and discussing significant country. We also send students to many non-Sarah compositions of the Western musical tradition from Lawrence College programs all over the world. the Middle Ages to the present. Classwork will Languages offered include: include readings, short papers, quizzes, and class • Chinese presentations. Conference work will evolve from • Classics classwork, as well as from the specific interests of • French each student. Each student in First-Year Studies in • German Music will be enrolled in a full music program—a • Greek (Ancient) Music Third—that reflects Sarah Lawrence’s • Italian educational philosophy of closely integrating theory • Japanese and practice in the study of music. The Music Third • Latin consists of a number of components: individual • Russian instruction in voice, an instrument, or composition; • Spanish courses in theory and/or history; participation in an ensemble; and concert attendance.

MUSIC LECTURES AND SEMINAR—The following lectures and seminar with conferences are offered to the College The music program is structured to integrate theory community; each constitutes one-third of a and practice. Students select a combination of student’s program. Or they may be taken as a component courses that together constitute one full component in one of the Performing Arts Third course, called a Music Third. A minimal Music Third programs (Music, Dance, and Theatre). See includes four components: COMPONENTS, below, for specific equirr ements for 1. Individual instruction (instrumental students taking Advanced Theory. performance, composition, or voice), the central area of study around which the rest of Philosophy of Music the program is planned Martin Goldray 2. Theory and/or history (see requirements Open, Lecture—Spring below) In recent years, a number of philosophers have 3. A performance ensemble (see area examined the experience of music: Does it express requirements below) emotions? And, if so, how? Does it convey meaning? Can we use the idea of narrative to help understand THE CURRICULUM 101 music without a text? Etc.? This class will begin by Transformation Sounds! examining some different perspectives on the role of Ethnomusicology and Social music—and art in general—in life and thought, including that of the Ancient Greeks, Kant, Hegel, Change Dewey, and Adorno. We will then look at the work of Niko Higgins more recent philosophers. The ideas presented in the Open, Seminar—Spring class will always be related to musical examples; the This course features the interdisciplinary study of class will equally involve reading and attentive music and culture by focusing on the role of music in listening. Musical examples will come mostly from social change. Why is music so important to social the Western classical tradition, but some other movements? How is music used to both challenge traditions may also be relevant. The goal of the class and support certain ideologies and institutions of will be to see how music and philosophical thought power? How have governments used music to build can illuminate each other and, hopefully, to deepen national solidarity, and how have activists used it to our awareness of the range and power of music. We incite change? How can we relate these phenomena will use analytical techniques in looking at pieces of to our own experiences with music in daily life? We music, but prior knowledge of music theory is not will explore answers to these questions through required. This course may be taken as a five-credit historical and ethnographic literatures and learn humanities class or as a component of a Music Third. about the diverse settings in which music and politics intersect. The course presents some theoretical foundations of music, self, and society Global Circulations: Art and Pop and then examines music and politics in specific Music of Asia contexts. Class sessions will explore topics such as Niko Higgins American spirituals during slavery and Open, Lecture—Fall emancipation, Islamic political movements in Iran, This course examines how music and its global and the role of music and sound in the Occupy Wall circulation make the relationships between people St. and Black Lives Matter movements. We will learn audible. In the social contexts of listening and the many ways in which music becomes a resource musical performance—and in musical sound for modeling the kind of social and political itself—we will understand how music and its transformations that people hope to create in their movement across community-based, regional, and communities or nations. For example, we will national boundaries shape people’s lives. As observe governments’ and citizens’ musical recordings, musicians, and ideas about music move, appropriations and reappropriations, and we will we will learn how they sound interpersonal trace the ways groups often claim and adapt a single relationships by using selected ethnographic musical genre to differing ends. Throughout the examples of art and popular music from across Asia course, we will listen to and discuss numerous and the Middle East. Class topics will include South musical examples and gain familiarity with the Indian classical music, Taiko, Southeast Asian heavy musical genres that we study. Class sessions will be metal, Iranian pop, Japanese hip hop, Bollywood, devoted to discussing readings from a wide range of world jazz, noise, k-pop, world music 2.0, and others. fields, including ethnomusicology, anthropology, Course themes related to the circulation of music history, and sociology. No prior experience in music is will include the ideology of tradition, cultural necessary. Participation in the Faso Foli (West imperialism, sound technologies, and the more African percussion) ensemble is strongly recent proliferation of cultural nationalisms that encouraged. This course may be counted as either seek to impede circulation. By encountering musical humanities or social science credit. This course may diversity through listening and reading materials, also be taken as a semester-long component. students will develop the critical thinking skills to make connections between sonic and textual Components resources and to better understand the many ways in which music and sound are meaningful around Individual Instruction the world. No prior musical experience is necessary. Arranged by audition with the following members of Participation in the Solkattu Ensemble, a vocal the music faculty and affiliate artists: percussion ensemble, or African Classics, a popular music ensemble, is strongly encouraged. This lecture Composition—Chester Biscardi, Paul Kerekes, course may be counted as either humanities or social Patrick Muchmore, John Yannelli science credit. This course may also be taken as a Guitar (acoustic), Banjo, and Mandolin—William semester-long component. Anderson 102 Music Guitar (jazz/blues)—Glenn Alexander hour lessons per week) or in a studio class (there are Bass (jazz/blues)—Bill Moring four different studio classes, as well as the seminar Harpsichord and Fortepiano—Carsten Schmidt Self-Discovery Through Singing). Voice juries at the Piano—Chester Biscardi, Martin Goldray, Paul end of the year evaluate each student’s progress. Kerekes, Bari Mort, Carsten Schmidt Piano (jazz)—Billy Lester Piano Auditions and Placement Organ—Martin Goldray Voice—Hilda Harris, Wayne Sanders, La-Rose Saxon, The piano faculty encourages students to prepare Thomas Young two contrasting works that demonstrate the Flute—Roberta Michel student’s musical background and keyboard Oboe—James Smith technique. Piano auditions enable the faculty to Clarinet—Igor Begelman place the student with the appropriate teacher in Saxophone—John Isley either an individual piano lesson or in the Keyboard Bassoon—James Jeter Lab, given the student's current level of preparation. Trumpet—Jon Owens Acoustic and Jazz Guitar Auditions and Placement Trombone—Jen Baker Tuba—Andrew Bove The guitar faculty encourages students to prepare Percussion—Matt Wilson (drum set) two contrasting works that demonstrate the Percussion—Ian Antonio (mallet) student’s musical background, guitar technique, Harp—Mia Theodoratus and, for jazz and blues, improvisational ability. Guitar Violin—Sung Rai Sohn auditions enable the faculty to place the guitarist Viola—Daniel Panner with the appropriate teacher in either an individual Violoncello—James Wilson guitar lesson or in Guitar Class. Contrabass—Mark Helias Composition Lessons The director of the music program will arrange all instrumental study with the affiliate artist faculty, The student who is interested in individual who teach off ampus.c In all cases, individual instruction in composition must demonstrate an instruction involves consultation with members of appropriate background. the faculty and the director of the music program. Instructors for instruments not listed above will also Theory and Composition Program be arranged.

Lessons and Auditions Theory I, Theory II, and Advanced Theory—including their historical studies corollaries—make up a Beginning lessons are offered only in voice and required theory sequence that must be followed by piano. A limited number of beginning acoustic guitar all music students unless they prove their lessons are offered based on prior musical proficiency in a given area. Entry level will be experience. All other instrumentalists are expected determined by a diagnostic exam, which will be to demonstrate a level of proficiency on their administered immediately after the Music instruments. In general, the music faculty Orientation Meeting that takes place during the first encourages students to prepare two excerpts from day of registration. two contrasting works that demonstrate the student’s musical background and technical ability. Theory I: Materials of Music Auditions for all instruments and voice, which are Paul Kerekes , Bari Mort held at the beginning of the first eekw of classes, Component are for placement purposes only. In this introductory course, we will study elements of music such as pitch, rhythm, intensity, and timbre. Vocal Auditions, Placement, and Juries We will see how they combine in various musical structures and how these structures communicate. The voice faculty encourages students to prepare Studies will include notation and ear training, as well two contrasting works that demonstrate the as theoretical exercises, rudimentary analyses, and student’s musical background and innate vocal the study of repertoire from various eras of Western skills. Vocal auditions enable the faculty to place the music. Hearing and Singing is taken concurrently singer in the class most appropriate for his/her with this course. This course is a prerequisite to the current level of vocal production. Students will be placed in either an individual voice lesson (two half- THE CURRICULUM 103 Theory II: Basic Tonal Theory and Composition and Advanced Theory: Jazz Theory and Advanced Theory sequence. This course will meet Harmony twice each week (two 90-minute sessions). Glenn Alexander Component Theory II: Basic Tonal Theory and This course will study the building blocks and Composition concepts of jazz theory, harmony, and rhythm. This Paul Kerekes , Patrick Muchmore will include the study of the standard modes and Component scales, as well as the use of melodic and harmonic As a skill-building course in the language of tonal minor scales and their respective modals systems. It music, this course covers diatonic harmony and will include the study and application of diminished voice leading, elementary counterpoint, and simple and augmented scales and their role in harmonic forms. Students will develop an understanding progression, particularly the diminished chord as a through part writing, analysis, composition, and parental structure. An in-depth study will be given to aural skills. The materials of this course are harmony and harmonic progression through analysis prerequisite to any Advanced Theory course. Survey and memorization of triads, extensions, and of Western Music is required for all students taking alterations, as well as substitute chords, Theory II who have not had a similar history course. reharmonization, and back cycling. We will look at polytonality and the superposition of various hybrid At least one of the following Advanced Theory* chords over different bass tones and other harmonic courses is required after Theory II: structures. We will study and apply all of the above to their characteristic and stylistic genres, including *Note: With Advanced Theory, students are required bebop, modal, free, and progressive jazz. The study of to take either a yearlong seminar or two semester- rhythm, which is possibly the single most important long seminars in music history, which include: 20th- aspect of jazz, will be a primary focus, as well. We /21st-Century Music History (year); Global will also use composition as a way to absorb and Circulations: Art & Pop Music of Asia (fall); Johann truly understand the concepts discussed. Sebastian Bach (fall); Solkattu Ensemble (fall); The Prerequisite: Theory II: Basic Tonal Theory and Modern Concerto: Evolutions and Styles (fall); Composition Philosophy of Music (spring); The Modern Symphony: Evolutions and Styles (spring); and Jazz Arranging and Orchestration Transformation Sounds! Ethnomusicology and John Isley Social Change (spring). Component In this course, students will focus on the basics of Advanced Theory: Advanced Tonal arranging and orchestrating for small- to medium- Theory and Analysis size jazz ensembles. Offered in partnership with the Carsten Schmidt Jazz Colloquium ensemble, students will write for the Component instrumentation of the ensemble and will have the This course will focus on the analysis of tonal music, opportunity to hear their arrangements performed with a particular emphasis on chromatic harmony. by Jazz Colloquium. This course introduces students Our goal will be to quickly develop basic to the techniques of arranging and orchestration for understanding and skill in this area and then to two-horn, three-horn, and four-horn jazz ensembles. refine them in the analysis of ompletc e movements Students will study the classic repertoire of small- to and works. Our repertoire will range from Bach to medium-size jazz groups and create small ensemble Brahms, and we will try to incorporate music that arrangements in various styles. Materials for study class participants might be studying in their lessons will be drawn from throughout the history of jazz and or ensembles. Prerequisite: successful completion of contemporary/commercial arranging practices. the required theory sequence or an equivalent Prerequisites: Ability to read music and an background. understanding of fundamental jazz harmony, chord construction, and song structure. 104 Music Advanced Theory: Orchestration and Del Tredici, among others. Open to students who and Score Study have successfully completed Theory II: Basic Tonal Theory and Composition. Patrick Muchmore Component Although this course will be important for Hearing and Singing composers, it is predicated on the conviction that Jacob Rhodebeck learning more about the capabilities of Component instruments—both individually and in This class focuses on developing fluency with the combination—is invaluable to the appreciation of rudiments of music and is the required aural music for anyone. Of course, a composer needs to corollary to Theory I: Materials of Music. As students learn the timbral palettes of various instruments, as begin to explore the fundamental concepts of well as how to write idiomatically for them; but written theory—reading notes on the staff, performers, theorists, and historians benefit interpreting rhythm—Hearing and Singing works to enormously, as well. They learn why some musical translate these sights into sounds. The use of choices were necessary but also why some choices solfège helps in this process, as ear, mind, and voice are especially clever or even astonishing. The first begin to understand the relationship between the semester will focus on basic characteristics and pitches of the scale. Rhythm drills help solidify a some extended techniques of the primary orchestral sense of rhythm and a familiarity with rhythm instruments and will include considerations and patterns. In-class chorale singing supports this examples for orchestral and chamber literature. The process. All incoming students will take a diagnostic second semester will add a few more advanced and/ test to determine placement. This class fulfills het or less-standard instruments, such as the harp, performance component of the music program for guitar, and synthesizer, but will primarily focus on those beginning students who are not ready to extensive score study with an eye toward varied participate in other ensembles. approaches to orchestration. Examples will include works from the Baroque era all the way to the Sight Reading for Instrumentalists present day. All students will compose small excerpts for solo instruments and chamber groups Sungrai Sohn as each instrument is introduced. For composers, the Component first semester project will be an arrangement of part This course is open to all instrumentalists who are of an assigned piano piece for full orchestra; the interested in developing techniques to improve their final project will be a relatively brief original sight-reading skills. Groups from duets to quintets composition for a large chamber group or full will be formed according to level and will meet once orchestra. Non-composition students will have the a week. A sight-reading “performance” will be held option to either do those projects or substitute at the end of each semester. relatively brief papers that analyze the orchestration in pieces chosen from a list provided by the 20th-Century Compositional instructor. Techniques Paul Kerekes Advanced Theory: 20th-Century Component Theoretical Approaches: Post- Composers have been exploring new avenues for Tonal and Rock Music creating and organizing their music beyond a traditional tonal construct since the turn of the 20th Patrick Muchmore century. As we will discover, some composers relate Component to the past by extending those techniques into a new This course will be an examination of various realm, while others firmly attempt to establish theoretical approaches to music of the 20th procedures that disregard the history of century—including post-tonal, serial, textural, compositional methods that precede them. This minimalist, and pop/rock music. Our primary text course is a workshop in the art of composition, with will be Joseph Straus’s Introduction to Post-Tonal a focus on new approaches to writing that Theory, but we will also explore other relevant composers devised from the late 19th century to texts—including scores and recordings of the works present times. We will examine in detail significant themselves. This course will include study of the works by a wide variety of major 20th- and 21st- music of Schoenberg, Webern, Pink Floyd, Ligeti, century composers, beginning with the first inklings Bartók, Reich, Radiohead, Nine Inch Nails, Corigliano, of modernism in Debussy, Wagner, and Schoenberg; THE CURRICULUM 105 stopping by a myriad of resulting genres such as interactive performance art. Students in this course neoclassicism in Stravinsky and minimalism with may also choose to evolve collaborative projects Steve Reich; and finishing off withery v recent with students from those other areas. Projects will compositions by established and emerging be presented in class for discussion and critique. composers from across the globe. Since this class Permission of the instructor is required. focuses heavily on compositional techniques through the act of composing, it is expected that Studio Composition and Music students have, or will develop, a fluency in notation, preferably with Sibelius or Finale. The class will Technology culminate in a reading session of your final orkw by John Yannelli live performers. Prerequisite: Theory I: Materials of Component Music or its equivalent. Students work on individual projects involving aspects of music technology, including but not limited to works for electro-acoustic instruments Music Technology Courses: Studio for (live and/or prerecorded), works involving Electronic Music and Experimental interactive performance media, laptop ensembles, Sound Disklavier, and improvised or through-composed works. This component is open to advanced students Introduction to Electronic Music who have successfully completed Studio for Electronic Music and Experimental Sound and are at and Music Technology or beyond the Advanced Theory level. Class size is John Yannelli limited. Permission of the instructor is required. Component The Sarah Lawrence Electronic Music Studio is a state-of-the art facility dedicated to the instruction Music History Classes and development of electronic music composition. The studio contains the latest in digital audio Survey of Western Music hardware and software for synthesis, recording, and Carsten Schmidt signal processing, along with a full complement of Component vintage analog synthesizers and tape machines. This course is a chronological survey of Western Beginning students will start with an introduction to music from the Middle Ages to the present. The the equipment, basic acoustics and principles of course is designed to acquaint the student with studio recording, signal processing, and a historical significant compositions of the Western musical overview of the medium. Once students have tradition, as well as to explore the cyclical nature of acquired a certain level of proficiency with the music that mirrors philosophical and theoretical equipment and material—usually by the second ideas in Ancient Greece and how that cycle appears semester—the focus will be on preparing every 300 years: the Ars nova of the 14th century, Le compositions that will be heard in concerts of nuove musiche of the 17th century, and the New electronic music, student composers’ concerts, Music of the 20th century and beyond. The course music workshops, and open concerts. Permission of involves participation in listening, reading, and the instructor is required. discussion, including occasional quizzes about and/ or written summaries of historical periods. Recording, Sequencing, and Presentations are required during the second term. Mastering Electronic Music This component is required for all students taking Theory II: Basic Tonal Theory and Composition and is John Yannelli also open to students who have completed the theory Component sequence. This course will focus on creating electronic music primarily using software-based digital audio workstations. Materials covered will include MIDI, Johann Sebastian Bach ProTools, Digital Performer, Logic, Reason, Ableton Carsten Schmidt Live, MaxMsp, Traction, and elements of Sibelius and Component Finale (as connected to media scoring). Class Bach’s roots are deep, arguably reaching back to the assignments will focus on composing individual Middle Ages. This course, which will offer a thorough works and/or creating music and designing sound introduction to his works and life, will consider some for various media such as film, dance, and of those roots but also his influence on later 106 Music generations. This seminar will trace the The Modern Symphony: Evolutions development of Bach’s musical language and and Styles discuss his extraordinary contributions to almost all the genres important in his time, including cantatas, Patrick Muchmore concertos, suites, passions, orchestral music, and Component—Spring pedagogical keyboard works. Analysis of his music is This course will begin with the origins of the at the core of this course and will be combined with symphonic form in the Classical and Romantic eras discussion of readings that address topics of and will then explore the many -isms of the 20th and biography, theology, performance practice, and 21st centuries as they manifested themselves in that reception history. In-class performances will be a format. The course will function as both a history regular feature of this seminar. Reading knowledge course—introducing the biographies of many of music is essential, and some background in music composers, as well as the evolution of the most theory is highly recommended. important stylistic trends of the modern and contemporary eras—and as a music literature course to acquaint the student with seminal 20th-/21st-Century Music History symphonies and unsung classics of the genre. In Martin Goldray addition to the usual common-practice suspects, Component students will be introduced to the lives and works of In this class, students will study the history of Igor Stravinsky, Dmitri Shostakovich, Gloria Coates, Western music from the beginnings of modernism at Anton Webern, Galina Ustvolskaya, Amy Beach, Per the end of the 19th century, with music by Debussy Nørgård, Wolfgang Rihm, Ellen Taaffe Zwilich, John and Mahler, to music of today. The focus will be on Adams, and others. The evolution of many styles will the study of major works in various genres be explored, including spectralism, serialism, (symphonic music, opera, chamber music, and vocal microtonalism, eclecticism, minimalism, and music), but we will also examine the changing social brutalism. and intellectual contexts of the period such as the influences of two world wars, the rise of mass Jazz History entertainment, the development of recording and broadcast media, and the changing role of the arts in Glenn Alexander society. Component Jazz music of all styles and periods will be listened to, analyzed, and discussed. Emphasis will be placed The Modern Concerto: Evolutions on instrumental styles and performance techniques and Styles that have evolved in the performance of jazz. Skills in Patrick Muchmore listening to and enjoying some of the finer points of Component—Fall the music will be enhanced by the study of elements This course will begin with the origins of the such as form, phrasing, instrumentation, concerto form in the Baroque, Classical, and instrumental technique, and style. Special emphasis Romantic eras and will then explore the many -isms will be placed on the development of modern jazz of the 20th and 21st centuries as they manifested and its relationship to older styles. Some topics: Jelly themselves in that format. The course will function Roll Morton, King Oliver, Louis Armstrong, roots and as both a history course—introducing the development of the Big Band sound, Fletcher biographies of many composers, as well as the Henderson, Count Basie, Duke Ellington, lineage of evolution of the most important stylistic trends of pianists, horn players, evolution of the rhythm the modern and contemporary eras—and as a music section, Art Tatum, Bud Powell, Bill Evans, Thelonius literature course to acquaint the student with Monk, Miles Davis, John Coltrane, Charlie Parker, be- seminal concertos and unsung classics of the genre. bop, cool jazz, jazz of the ’60s and ’70s, fusion and In addition to the usual common-practice suspects, jazz rock, jazz of the ’80s, and modern trends. The students will be introduced to the lives and works of crossover of jazz into other styles of modern music, Amy Beach, Dmitri Shostakovich, Unsuk Chin, Tan such as rock and R&B, will be discussed, as will the Dun, John Corigliano, Sofia Gubaidulina, Alban Berg, influence that modern concert music and world Giya Kancheli, Ellen Taaffe Zwilich, Philip Glass, and music has had on jazz styles. This is a two-semester others. The evolution of many styles will be explored, class; however, it will be possible to enter in the including spectralism, serialism, microtonalism, second semester. This is one of the music history eclecticism, minimalism, and brutalism. component courses required for all Advanced Theory students. THE CURRICULUM 107 Philosophy of Music originators such as Blind Lemon Jefferson and Chicago Blues, beginning with Big Bill Broonzy and Component—Spring moving up through Howlin’ Wolf and Buddy Guy. See full course description under Lecture and Students will also learn songs and stylings by Muddy Seminars. Waters, Albert King, and B. B. King and learn how they influenced modern blues men such as Johnny Global Circulations: Art and Pop Winter, Stevie Ray Vaughn, and pioneer rockers such Music of Asia as Jeff Beck, Eric Clapton, Jimmy Page, and Jimi Niko Higgins Hendrix. Audition required. Component—Fall See full course description under Lecture and Jazz Colloquium Seminars. Glenn Alexander Component Transformation Sounds: This ensemble will meet weekly to rehearse and Ethnomusicology and Social perform a wide variety of modern jazz music and Change other related styles. Repertoire in the past has included works by composers Thelonius Monk, Duke Niko Higgins Ellington, Miles Davis, and Herbie Hancock, as well as Component—Spring some rock, Motown, and blues. All instruments are See course description under Lectures and Seminar. welcome. Audition required.

Performance Ensembles and Classes Jazz Performance and Improvisation Workshop All performance courses listed below are open to all members of the Sarah Lawrence community with Glenn Alexander permission of the instructor. Component This class is intended for all instrumentalists and Ensemble Auditions will provide a “hands-on” study of topics relating to Auditions for all ensembles will take place at the the performance of jazz music. The class will meet beginning of the first eekw of classes. as an ensemble, but the focus will not be on rehearsing repertoire and giving concerts. Instead, Chamber Choir students will focus on improving jazz playing by applying the topic at hand directly to Patrick Romano instruments—and immediate feedback on the Component performance will be given. The workshop Early madrigals and motets and contemporary works environment will allow students to experiment with especially suited to a small number of voices will new techniques as they develop their sound. Topics form the body of this group’s repertoire. The include jazz chord/scale theory; extensions of ensemble will perform winter and spring concerts. traditional tonal harmony; altered chords; modes; Chamber Choir meets twice a week. Audition scales; improvising on chord changes; analyzing a required. chord progression or tune; analysis of form; performance and style study, including swing, Latin, Jazz Studies include the following ensembles and jazz-rock, and ballade styles; and ensemble classes: technique. The format can be adapted to varying instrumentation and levels of proficiency. Placement The Blues Ensemble audition required. Glenn Alexander Component This performance ensemble is geared toward Jazz Vocal Ensemble learning and performing various traditional, as well Glenn Alexander, Bill Moring as hybrid, styles of blues music. The blues, like jazz, Component is a purely American art form. Students will learn No longer do vocalists need to share valuable time and investigate Delta Blues—performing songs by with those wanting to focus primarily on Robert Johnson, Charlie Patton, Skip James, and instrumental jazz and vice versa. This ensemble will others—as well as Texas Country Blues by be dedicated to providing a performance-oriented environment for the aspiring jazz vocalist. We will 108 Music mostly concentrate on picking material from the So This Is Opera? standard jazz repertoire. Vocalists will get an Wayne Sanders opportunity to work on arrangements, Component interpretation, delivery, phrasing, and intonation in a This course is an introduction to opera through an realistic situation with a live rhythm section and opera workshop experience that explores combining soloists. Vocalists will learn how to work with, give drama and music to create a story. The course is direction to, and get what they need from the open to students in the performing arts (music, rhythm section. It will provide an environment for dance, and theatre), as well as to the College vocalists to learn to hear forms and changes and community at large. All levels are welcome. Weekly also work on vocal improvisation if they so choose. class attendance is mandatory. Audition required. This will not only give students an opportunity to work on singing solo or lead vocals but to work with other vocalists in singing backup or harmony vocals Studio Class for and with each other. This will also serve as a Hilda Harris, Wayne Sanders, La-Rose Saxon, Thomas great opportunity for instrumentalists to learn the Young true art of accompanying the jazz vocalist, which Component will prove to be a valuable experience in preparing The Studio Class is a beginning course in basic vocal for a career as a professional musician. Audition technique. Each student's vocal needs are met required. within the structure and content of the class. Placement audition required. Jazz Saxophone Ensemble John Isley Seminar in Vocal Performance Component Hilda Harris Saxophone ensembles provide exposure to a wide Component variety of chamber ensemble literature for the Voice students will gain performance experience by saxophone, as well as an opportunity for students to singing repertoire selected in cooperation with the develop musical interaction skills in a small group/ studio instructors. Students will become acquainted chamber ensemble setting. In this course, students with a broader vocal literature perspective through will focus on small ensemble repertoire for the singing in several languages and exploring several saxophone, exploring the history of contemporary historical music periods. Interpretation, diction, and saxophone pieces starting with the saxophone bands stage deportment will be stressed. During the course of John Phillips Sousa up to and through the current of their studies and with permission of their day, performing works by Duke Ellington, Count instructor, all Music Thirds in voice are required to Basie, Gil Evans, Lenny Pickett, 29th Street take Seminar in Vocal Performance for two Saxophone Quartet, Itchy Fingers, the Hollywood semesters. Saxophone Quartet, and others. With enough participants, the ensemble may also perform World Music ensembles and courses include the Supersax style (5 saxophones and rhythm section) following: arrangements. There will be at least one public performance of the saxophone ensemble in each African Classics of the Post- semester, with other opportunities as they arise. Audition required. Colonial Era Andrew Algire Component—Fall Vocal Studies include the following courses: From highlife and jújù in Nigeria, to soukous and makossa in Congo and Cameroon, to the sounds of Jazz Vocal Seminar Manding music in Guinea and “Swinging Addis” in Thomas Young Ethiopia, the decades following World War II saw an Component explosion of musical creativity that blossomed This course is an exploration of the relationship of across sub-Saharan Africa. Syncretic styles merging melody, harmony, rhythm, text, and style and how African aesthetics with European, Caribbean, and those elements can be combined and manipulated to American influences and instruments resulted in create meaning and beauty. A significant level of vibrant new musical genres that harken back to vocal development will be expected and require. traditional African sources while exploring bold and Audition required. original musical forms. As European powers formally THE CURRICULUM 109 withdrew from their former colonies, newly inspired Africa, the United States, and other parts of the African musicians took advantage of broadened world. Correspondingly, our repertoire will reflect a artistic resources and created vital, contemporary wide range of expressive practices both ancient in musical expressions. This performance course will origin and dynamic in contemporary performance. explore a wide range of African musical styles that The instruments we play—balafons, the dun dun emerged in the second half of the 20th century. We drums, and djembe hand drums—were constructed will undertake a broad musical history, considering for the college in 2006, handcrafted by master prominent groups and individual musicians during builders in Guinea. Relevant instrumental techniques this time period, and perform tightly structured will be taught in the class, and no previous arrangements of some of their most effective and experience with African musical practice is influential pieces. There will be some opportunities assumed. Any interested student may join. for genre-appropriate improvisation and soloing. A wide range of instruments will be welcome, Other classes and ensembles: including strings, horns, guitars, keyboards, drums, and various other percussion instruments. Basic Awareness Through Movement™ facility on one's musical instrument is expected, but for Musicians prior experience with African musical aesthetics is neither assumed nor required. Carsten Schmidt Component This course will offer a selection from the thousands Solkattu Ensemble of Awareness Through Movement™ lessons Niko Higgins developed by Moshe Feldenkrais. The lessons consist Component—Fall of verbal instructions for carefully designed Solkattu is the practice of spoken rhythmic syllables movement sequences. The movements allow the that constitute the rhythmic basis of many forms of students to better sense and feel themselves and Indian music. Indian percussionists, vocalists, thereby develop new and improved organizational melodic instrumentalists, and dancers use solkattu patterns. The gentle movements are done in to communicate with each other in order to comfortable positions (lying, sitting, and standing), understand the rhythmic logic of Indian music. In and many instrumentalists and singers have found this ensemble, students will develop individualized them to be hugely helpful in developing greater ease, rhythmic precision and physical confidence, as well reducing unwanted tension and performance as group solidarity, through the practiced anxiety, and in preventing injuries. Another benefit is coordination of reciting patterns of syllables while the often increased capacity for learning and, clapping an independent rhythmic cycle. Using the perhaps most importantly, an increased enjoyment voice and hands, students will internalize rhythmic of music making and the creative process. relationships through physical embodiment by moving to progressively more complex rhythmic Baroque Ensemble patterns and rhythmic cycles. Students with no musical background and musicians specializing in Carsten Schmidt any instrument will benefit rf om the ensemble—all Component—Spring are welcome. No prior music experience is necessary. This performance ensemble focuses on music from roughly 1600 to 1750 and is open to both instrumentalists and singers. Using modern West African Percussion Ensemble instruments, we will explore the rich and diverse Faso Foli musical world of the Baroque. Regular coachings will Andrew Algire, Niko Higgins be supported by sessions exploring a variety of Component—Spring performance practice issues, such as Faso Foli is the name of our West African ornamentation, notational conventions, continuo performance ensemble. Faso Foli is a Malinke phrase playing, and editions. Audition required. that translates loosely as ‘playing to my father's home.’ In this class, we will develop the ability to Bluegrass Performance Ensemble play expressive melodies and intricate polyrhythms William Anderson in a group context, as we recreate the celebrated Component—Spring musical legacy of the West African Mande Empire. Bluegrass music is a 20th-century amalgam of These traditions have been kept alive and vital popular and traditional music styles, emphasizing through creative interpretation and innovation in vocal performance and instrumental improvisation, 110 Music that coalesced in the 1940s in the American another. How the body makes sound and how sound Southeast. This ensemble will highlight, through moves will serve as entry points for our individual performance, many of the influences and traditions and group experimentation. Scores will be explored that bluegrass comprises, including ballads, with an eye toward their performing potential. The breakdowns, “brother duets,” gospel quartets, Irish- ensemble is open to composer-performers, dancers, style medleys, “modal” instrumentals, “old-time” performance artists, and actors. Music students country, popular song, and rhythm and blues, among must be able to demonstrate proficiency in their many possible others. The ensemble should include chosen instrument. All instruments (acoustic and fiddle, 5-string banjo, steel-string acoustic guitar, electrical), voice, electronic synthesizers, and laptop mandolin, resophonic guitar (Dobro®), and upright computers are welcome. Permission of the (double) bass. Though experienced players will have instructors is required. plenty of opportunities to improvise, participants need not have played bluegrass before. Guitar Class William Anderson, Glenn Alexander Chamber Music Component Sungrai Sohn This course is for beginning acoustic or electric Component guitar students. Faculty recommendation required. Various chamber groups—from quartets or quintets to violin and piano duos—are formed each year Guitar Ensemble depending on the number and variety of qualified instrumentalists who apply. There are weekly William Anderson coaching sessions. At the end of the semester, Component groups will have an opportunity to perform in a This class offers informal performance opportunities chamber music concert. on a weekly basis as a way of exploring guitar solo, duo, and ensemble repertoire. The course will seek to improve sight-reading abilities and foster a thorough Chamber Music Improvisation knowledge of the guitar literature. Recommended John Yannelli for students interested in classical guitar. Faculty Component recommendation required. This is an experimental performing ensemble that explores a variety of musical styles and techniques, Keyboard Lab including free improvisation, improvisational conducting, and various other chance-based Bari Mort methods. The ensemble is open to all instruments Component (acoustic and electric), voice, electronic This course is designed to accommodate beginning synthesizers, and laptop computers. Students must piano students, who take the Keyboard Lab as the be able to demonstrate a level of proficiency on their core of their Music Third. This instruction takes place chosen instrument. Composer-performers, dancers, in a group setting with eight keyboard stations and and actors are also welcome. Performance one master station. Students will be introduced to opportunities will include: concerts, collaboration elementary keyboard technique and simple piano with other programs such as dance, theatre, film, pieces. Placement arranged by the piano faculty. and performance art, as well as community outreach. Open to a limited number of students. Senior Recital Audition required. Component—Spring This component offers students the opportunity to Experimental Improvisation share the results of their sustained work in Ensemble performance study with the larger College community. During the semester of their recital, Kathy Westwater, John Yannelli students will receive additional coachings by their Component—Fall principal teachers. Audition required. This class explores a variety of musical and dance styles and techniques, including free improvisation, chance-based methods, conducting, and scoring. We will collaboratively innovate practices and build scores that extend our understanding of how the mediums of dance and music relate to and with one THE CURRICULUM 111 Violin Masterclass Music Workshops and Open Sungrai Sohn Concerts Component Bari Mort Violin Master Class meets weekly and involves both Component playing and discussion. Each student is required to Music workshops present an opportunity for prepare a solo piece. An accompanist will be present students to perform music that they have been before and during each class to rehearse and studying in an informal, supportive environment. In perform with students. Each master class is this class, participants will present a prepared piece organized as a series of individual lessons that and receive constructive feedback from the address recurrent performance problems, including instructor and other students. Along with the discussions concerning technical and musical issues specifics of each performance, class discussion may (basic and advanced) as well as performance include general performance issues such as dealing practices. All students will receive copies of the with anxiety, stage presence, and other related works being performed. topics. Each term will consist of three workshops, culminating at the end of each semester in an Open Required Concert Attendance/Music Concert that is a more formal recital. The entire Tuesdays Component College community is welcome and encouraged to participate. The music faculty wants students to have access to a variety of musical experiences; therefore, all Music Other courses of interest are listed below. Full Thirds are required to attend all Music Tuesday events descriptions of the courses may be found under the and three music department-sponsored concerts on appropriate disciplines. campus per semester, including concerts (the Documentary Filmmaking: Truth, Freedom, and number varies from semester to semester) Bearing Witness (p. 47), Damani Baker presented by music faculty and outside Filmmaking and Moving Image Arts professionals that are part of the Concert Series. The Blues Ethos and Jazz Aesthetics: A History of Music Tuesdays consist of various programs, African Americans in the City (p. 73), Komozi including student/faculty town meetings, concert Woodard History presentations, guest artists’ lectures and Theatre in America I: The Golden Age (p. 89), Joseph performances, master classes, and collaborations Lauinger Literature with other departments and performing-arts Theatre in America II: The Age of Revolt (p. 90), programs. Meetings, which take place in Reisinger Joseph Lauinger Literature Concert Hall on selected Tuesdays from 1:30-3:00 17th-Century British Literature (p. 88), William p.m., are open to the community. The schedule will be Shullenberger Literature announced each semester. First-Year Studies: The New Elements: Mathematics and the Arts (p. 95), Philip Ording Mathematics Master Classes and Workshops First-Year Studies: The Senses: Art and Science (p. 124), Elizabeth Johnston Psychology Master Class It’s Complicated: The Nature of Emotions (p. 125), Rochelle Cassells Psychology Music Faculty Component Master Class is a series of concerts, instrumental and vocal seminars, and lecture demonstrations PHILOSOPHY pertaining to music history, world music, improvisation, jazz, composition, and music At Sarah Lawrence College, the study of philosophy technology. Master classes take place on retains a centrality, helping students synthesize Wednesdays from 12:30-1:30 p.m. in either Reisinger their educational experience with the discipline’s Concert Hall or Marshall Field House Room 1. They are many connections to other humanities and to social open to the College community. science. Through conference work, students also find numerous ways to connect the study of philosophy with their interests in the arts and natural sciences. Stressing the great tradition of classical and contemporary philosophy, the College offers three types of philosophy courses: those 112 Philosophy organized around thematic topics, such as O’Neill, and Sartre wrote versions of Greek tragedies. Philosophy of Science, Aesthetics, and Philosophy And, of course, there is Freud. Greek tragedy and Literature; those organized historically, such as examines fundamental things in a fundamental way. Moral Philosophy, Political Philosophy, and 20th- Justice, family, guilt, law, autonomy, sexuality, Century Philosophy; and those that study the political life, the divine—these are its issues. For “systems” of philosophers such as Kant, Nietzsche, class, we will read three plays by each of the great and Wittgenstein. Athenian tragedians—Aeschylus, Sophocles, and Philosophy faculty use the latest technology in Euripides—with a view toward understanding how their teaching, including Web boards for posting they deal with these issues and with the question of course material and promoting discussion. Yearlong the importance and nature of tragedy itself. For courses make extensive textual work possible, conference, we will read perhaps the greatest enabling students to establish in-depth relationships philosophical treatment of tragedy: Aristotle’s On with the thought of the great philosophers and to Poetics. “do philosophy” to some degree—particularly valuable to students preparing for graduate work in Economics and Moral Philosophy philosophy. Conference work often consists of students thinking through and writing on single Abraham Anderson philosophic and literary works, ranging from Greek Open, Seminar—Year tragedy, comedy, or epic to Plato, Aristotle, Aquinas, In the history of economic thought, one of the Machiavelli, Descartes, Shakespeare, Hobbes, Locke, classic topics has been the “Adam Smith problem,” Rousseau, Hume, Kant, Hegel, Marx, Nietzsche, or the problem of how Smith—whose The Wealth of Heidegger. Nations was thought to teach that selfishness is, and ought to be, the primary motive of human Philosophy as Therapy behavior—could also have written The Theory of Moral Sentiments, which makes sympathy and Abraham Anderson benevolence central to human moral psychology. In Open, Lecture—Year this course, we shall attempt to understand whether Since Socrates, philosophy has understood itself as there really is an “Adam Smith problem.” We shall do therapy—of “opinion” (Socrates, Plato), of anxiety so by beginning before Smith, with Shaftesbury‘s and passion (the Stoa), of superstition (the Inquiry Concerning Virtue and Merit, which teaches Epicureans), and of dogmatism (the Pyrrhonian that human beings are fundamentally sociable, and skeptics and the New Academy). This conception of Mandeville’s Fable of the Bees, which argues for the philosophy receded in the Middle Ages—when political and economic value of selfishness. eW shall philosophy in Christian Europe was conceived of as a then go on to read The Theory of Moral Sentiments “handmaiden to theology”—but returned in the and The Wealth of Nations. Our focus will not be on Renaissance and continued to be important in the economic theory. Rather, we shall be interested in Enlightenment. Among the moderns, thinkers who the question of human nature and its relevance to understand philosophy as involving therapy include politics and political economy—and, for example, to Montaigne, Descartes, Shaftesbury, and Kant, as well disagreements among American “conservatives,” as some in the 20th century. In the fall semester, we many of whom defend the virtue of selfishness, and shall focus on the ancients; in the spring, on the American “liberals,” many of whom wish to regard moderns. human beings as fundamentally sociable and who wish to cultivate a universal benevolence. Reading The Philosophy of Tragedy these four books slowly and carefully may take us Michael Davis the whole year. Open, Lecture—Fall Greek tragedy has been performed, read, imitated, Heidegger and the Art of Thinking and interpreted for 2,500 years. From the very Roy Ben-Shai beginning, it was thought to be philosophically Open, Seminar—Year significant—somehow pointing to the truth of Martin Heidegger (1889-1976), one of the most human life as a whole. (The phrase "tragedy of life" influential philosophers of the last entc ury and a first appears in Plato.) As a literary form, Greek master of the essay form, argued that “to think is to tragedy is thought to be especially revealing, confine ourselfy to a single thought.” To become philosophically, by Aristotle, Hegel, Nietzsche, and familiar with Heidegger’s “single thought” and to Heidegger, to name only a few. Among others, follow its development, we will read key essays from Seneca, Corneille, Racine, Voltaire, Goethe, Shelley, his “middle period” (1930s-40s), in which he probes THE CURRICULUM 113 the meanings of death, truth, art, humanism, Ancient Philosophy (Plato) technology, and thinking. We will pay special Michael Davis attention to the pedagogical facet of these essays; Intermediate, Seminar—Spring namely, their endeavor to teach us how to discover This course will be devoted to a careful reading of and develop our own thought. one text. The goal of the course is twofold. It is first designed to acquaint students with perhaps the How to Become Who You Are: seminal figure in the philosophical tradition in more Readings in Nietzsche’s than a superficial way. (The 20th-century Philosophy of Life philosopher Alfred North Whitehead once remarked that the “safest general characterization of the Roy Ben-Shai European philosophical tradition is that it consists of Open, Seminar—Fall a series of footnotes to Plato.”) This will force us to In this course, we will read selected works from slow our usual pace of reading, to read almost different phases of Nietzsche’s career and become painfully carefully, with a view toward acquainted with some of the central themes of his understanding Plato as he wrote and as he philosophy, including his views of art, tragedy, understood himself and not as a stage in a historical history, and morality. While we will give each theme development. The second part of the goal of the its own due, our guiding thread will be Nietzsche’s course is to introduce and encourage this kind of promotion of a morality grounded in an affirmation careful reading. The text for spring 2019 will be of life—“yes-saying,” as he called it—and his Plato’s Protagoras. rejection of all ethical appeals to something beyond this life, this body, this world. To cast light on the profound impact and enduring life of this philosophy, Other courses of interest are listed below. Full we will accompany our primary readings in descriptions of the courses may be found under the Nietzsche with critical appropriations of his thought appropriate disciplines. by leading 20th-century philosophers, including First-Year Studies: How Things Talk: The Linguistic Heidegger, Irigaray, Deleuze, and Foucault. Materialities of Late Capitalism (p. 4), Aurora Donzelli Anthropology Time in Film and Philosophy Paris, City of Light and Violence (p. 4), Robert R. Desjarlais Anthropology Roy Ben-Shai Specters of the Subject: Hauntologies of Ghosts, Open, Seminar—Spring Phantasms, and Imaginings in Contemporary The experience of time is so deeply engrained in our Life (p. 7), Robert R. Desjarlais Anthropology everyday lives that we tend to take it as a given; we Understanding Experience: Phenomenological rarely take the time to think about time. Our main Approaches in Anthropology (p. 5), Robert R. objective in this course will be just that: to reflect Desjarlais Anthropology about time. What is the meaning of time? How do we Object, Site, and Installation (p. 13), Sarah Hamill Art experience it? Is there a “right way” to experience History time and to think about time? Our main register for “A Talent for Every Noble Thing”: Art, Architecture in addressing these questions will be philosophical, Italy, 1300-1600 (p. 11), Joseph C. Forte Art and we will get to know writings by some of the best History philosophers of the last century and a Architectures of the Future, 1780 to the half—including Bergson, Nietzsche, Heidegger, and Present (p. 11), Joseph C. Forte Art History Kristeva. Since the filmic medium—the First-Year Studies: Achilles, the Tortoise, and the “movie”—embodies time and movement in its very Mystery of the Undecidable (p. 27), James structure, we will accompany our philosophical Marshall Computer Science readings with watching and interpreting films, Microeconomic Theory and Policy: Advanced including 8½ (Fellini), La Jetée (Marker), Jeanne Topics (p. 40), Jamee K. Moudud Economics Dielman, 23, Quai du Commerce, 1080 Bruxelles Resource Economics and Political Ecology (p. 39), (Akerman), 2001: a Space Odyssey (Kubrick), and John Casey Nicolarsen Economics Memento (Nolan) that explore their own temporality Introduction to Property: Cultural and Environmental philosophically. Perspectives (p. 42), Charles Zerner Environmental Studies Food, Agriculture, Environment, and Development (p. 61), Joshua Muldavin Geography 114 Physics Introduction to Development Studies: The Political PHYSICS Ecology of Development (p. 62), Joshua Muldavin Geography Physics—the study of matter and energy, time and Romantic Europe (p. 69), Philip Swoboda History space, and their interactions and The Enlightenment (p. 69), Philip Swoboda History interconnections—is often regarded as the most Beginning Latin (p. 81), Emily Katz Anhalt Latin fundamental of the natural sciences. An Forms and Logic of Comedy (p. 89), Fredric Smoler understanding of physics is essential for an Literature understanding of many aspects of chemistry, which Literary Visions From Antiquity to the Middle in turn provides a foundation for understanding a Ages (p. 87), Gillian Adler Literature variety of biological processes. Physics also plays an 17th-Century British Literature (p. 88), William important role in most branches of engineering; and Shullenberger Literature the field of astronomy, essentially, is physics applied The Bible and Literature (p. 87), William on the largest of scales. Shullenberger Literature As science has progressed over the last century Eight American Poets (Whitman to Ashbery) (p. 91), or so, the boundaries between the different Neil Arditi Literature scientific disciplines have become blurred, and new Translation Studies: Poetics, Politics, Theory, and interdisciplinary fields—such as chemical physics, Practice (p. 91), Bella Brodzki Literature biophysics, and engineering physics—have arisen. Game Theory: The Study of Conflict and For these reasons, and because of the excellent Strategy (p. 96), Daniel King Mathematics training in critical thinking and problem-solving Discrete Mathematics: A Bridge to Advanced provided by the study of physics, this subject Mathematics (p. 98), Philip Ording represents an indispensable gateway to the other Mathematics natural sciences and a valuable component of a Philosophy of Music (p. 100), Martin Goldray Music liberal-arts education. The Quantum World (p. 115), Alejandro Satz Physics Damaged Democracy: Structural Roots of Classical Mechanics (Calculus- Democratic Dysfunction (p. 120), David Peritz Politics Based General Physics) First-Year Studies: Democracy, Diversity, and Merideth Frey (In)Equality (p. 117), David Peritz Politics Open, Seminar—Fall Personality Development (p. 135), Jan Drucker Calculus-based general physics is a standard course Psychology at most institutions; as such, this course will prepare Building Resilience: Tools From Positive you for more advanced work in physical science, Psychology (p. 127), Rochelle Cassells engineering, or the health fields. (Alternatively, the Psychology algebra-based Introduction to Mechanics will also It’s Complicated: The Nature of Emotions (p. 125), suffice for premedical students). The course will Rochelle Cassells Psychology cover introductory classical mechanics, including Readings in Early Christianity: The Johannine kinematics, dynamics, momentum, energy, and Community (p. 141), Cameron C. Afzal Religion gravity. Emphasis will be placed on scientific skills, First-Year Studies: (Re)Constructing the Social: including: problem-solving, development of physical Subject, Field, Text (p. 145), Shahnaz Rouse intuition, scientific ommunicc ation, use of Sociology technology, and development and execution of Marx and Marxisms: Lineages and Contemporary experiments. The best way to develop scientific skills Relevance (p. 147), Shahnaz Rouse Sociology is to practice the scientific process. We will focus on First-Year Studies: Fake News, Real News, News That learning physics through discovering, testing, Stays News (p. 173), Vijay Seshadri Writing analyzing, and applying fundamental physics Poetry: The Creative Process (p. 182), Kate Knapp concepts in an interactive classroom and in weekly Johnson Writing laboratory work. Permission of the instructor is Eco-Poetry (p. 181), Marie Howe Writing required. Students must have completed one A Kind of Haunting: A Poetry Workshop (p. 182), semester of calculus as a prerequisite. It is strongly Cynthia Cruz Writing recommended that students who have not completed the second semester of calculus enroll in Calculus II, as well. Classical Mechanics or equivalent, along with Calculus II or equivalent, is highly recommended in order to take Electromagnetism and Light (Calculus- Based General Physics) in the spring. THE CURRICULUM 115 The Quantum World physics lab, along with individual biweekly conference meetings. The course will be broken Alejandro Satz down into multiple units, including tools of the trade, Open, Seminar—Fall mechanics, 3D printing, simple electronics, Quantum physics revolutionized our understanding introduction to Arduino, and the engineering design of the physical world almost a century ago, and process. Each unit will include a small group project today concepts from it (“Schroedinger’s cat,” to demonstrate the new skills that you have “Heisenberg’s uncertainty principle,” “parallel acquired. In addition, there will be weekly homework universes,” “entanglement”) can be found all over assignments, where you will need to create or bring popular culture—often in confused and distorted in something related to the topic at hand. For your ways. In this open course, we will explore the true individual conference project, you will be developing meaning of quantum theory in a way that does not your own engineered piece, with a report on its require physics or mathematics prerequisites. The design and desired function, as well as any course will cover the historical process that led to necessary material required for others to replicate the development of quantum physics, the conceptual the results (within desired copyright restrictions). meaning of the theory, the ways it is applied in modern physics and technology, and the ongoing philosophical debates about its implications for the Introduction to Electromagnetism, nature of reality. Light, and Modern Physics (General Physics Without Introduction to Mechanics Calculus) (General Physics Without Alejandro Satz Calculus) Sophomore and above, Seminar—Spring Alejandro Satz This course covers electromagnetism and optics, as Open, Seminar—Fall well as selected topics in modern physics. Students This course covers introductory classical mechanics, considering careers in the health sciences, as well as including dynamics, kinematics, momentum, energy, those interested in physics for physics’ sake, should and gravity. Students considering careers in take either this course or Classical Mechanics. architecture or the health sciences, as well as those Emphasis will be placed on scientific skills, including interested in physics for physics’ sake, should take problem-solving, development of physical intuition, either this course or Classical Mechanics. Emphasis scientific ommunicc ation, use of technology, and will be placed on scientific skills, including problem- development and execution of experiments. solving, development of physical intuition, scientific Seminars will incorporate discussion and exploratory communication, use of technology, and development and problem-solving activities. In addition, the class and execution of experiments. Seminars will will meet weekly to conduct laboratory work. A incorporate discussion, exploratory activities, and background in calculus is not required. Calculus is problem-solving activities. In addition, the class will not a requirement for this course. Students should meet weekly to conduct laboratory work. A have had at least one semester of physics background in calculus is not required. This course or (mechanics). equivalent is required to take Introduction to Electromagnetism, Light, and Modern Physics Electromagnetism and Light (General Physics Without Calculus) in the spring. (Calculus-Based General Physics) Merideth Frey Time to Tinker Intermediate, Seminar—Spring Merideth Frey This is the follow-on course to Classical Mechanics, Open, Seminar—Spring where we will be covering waves, geometric and Do you enjoy designing and building things? Do you wave optics, electrostatics, magnetostatics, and have lots of ideas about things that you wished electrodynamics. We will use the exploration of the existed but do not feel you have enough technical particle and wave properties of light to bookend our knowledge to create it yourself? This course is discussions and ultimately finish our xplore ation of meant to give an introduction to tinkering, with a classical physics with the hints of its focus on learning the practical physics behind basic incompleteness. Seminars will incorporate mechanical and electronic components and discussion, exploratory, and problem-solving providing the opportunity to build things yourself. We activities. In addition, the class will meet weekly to will have weekly, three-hour workshops in the 116 Political Economy conduct laboratory work. Prerequisites: Completion Paris, City of Light and Violence (p. 4), Robert R. of Classical Mechanics or equivalent, along with Desjarlais Anthropology Calculus II or equivalent. Specters of the Subject: Hauntologies of Ghosts, Phantasms, and Imaginings in Contemporary Quantum Mechanics Life (p. 7), Robert R. Desjarlais Anthropology Understanding Experience: Phenomenological Alejandro Satz Approaches in Anthropology (p. 5), Robert R. Intermediate, Seminar—Spring Desjarlais Anthropology Quantum mechanics, which describes physics at Political Economy of Women (p. 38), Kim Christensen small scales, requires an entirely different set of Economics principles, concepts, and mathematical techniques Introduction to Economic Theory and Policy (p. 39), than the classical physics covered in introductory John Casey Nicolarsen Economics courses. In this course, we will introduce the basic Legal Analysis of Business History: Corporate principles of quantum theory and discuss their Governance, Democracy, and Economic applications in atomic and subatomic Transformation (p. 40), Jamee K. Moudud physics—including, among others, the meaning and Economics computation of particle wave functions, the energy Econometric Analysis: Structural Explorations in the levels of atoms, and the properties of quantum Social Sciences (p. 38), Jamee K. Moudud angular momentum (spin). This is an intermediate Economics course recommended for students interested in Microeconomic Theory and Policy: Advanced pursuing physics, physical chemistry, or engineering. Topics (p. 40), Jamee K. Moudud Economics Prerequisites: Students must have completed one Resource Economics and Political Ecology (p. 39), year of calculus, as well as one year of general John Casey Nicolarsen Economics physics. Introduction to Property: Cultural and Environmental Perspectives (p. 42), Charles Zerner Other courses of interest are listed below. Full Environmental Studies descriptions of the courses may be found under the Food, Agriculture, Environment, and appropriate disciplines. Development (p. 61), Joshua Muldavin Geography Atoms, Molecules, and Reactions: An Introduction to Introduction to Development Studies: The Political Physical Chemistry (p. 23), Colin D. Abernethy Ecology of Development (p. 62), Joshua Chemistry Muldavin Geography An Introduction to Statistical Methods and Making Latin America (p. 68), Margarita Fajardo Analysis (p. 95), Daniel King Mathematics History Calculus I: The Study of Motion and Change (p. 96), Right and Left in Latin America (p. 74), Margarita Daniel King Mathematics Fajardo History Calculus II: Further Study of Motion and Drugs, History, and Politics in Latin America and Change (p. 97), Daniel King Mathematics Beyond (p. 74), Margarita Fajardo History Eco-Poetry (p. 181), Marie Howe Writing An Introduction to Statistical Methods and Analysis (p. 95), Daniel King Mathematics Community and Civility (p. 121), Samuel Abrams POLITICAL ECONOMY Politics First-Year Studies: Democracy, Diversity, and Classes from disciplines such as economics, (In)Equality (p. 117), David Peritz Politics geography, history, LGBT studies, politics, psychology, Breakin’ Up Is Hard To Do: Secession and Exit in the public policy, sociology, and writing comprise the “End of History” (p. 118), Yekaterina Oziashvili classes available within this cross-disciplinary path. Politics First-Year Studies: Imperialism, Resistance, Courses offered in related disciplines this year are Development, Intervention: African States in listed below. Full descriptions of the courses may be the International System (p. 118), Elke Zuern found under the appropriate disciplines. Politics First-Year Studies: How Things Talk: The Linguistic The Experiences of Immigrant Children (p. 131), Materialities of Late Capitalism (p. 4), Aurora Rochelle Cassells Psychology Donzelli Anthropology First-Year Studies: Nations, Borders, and Mobilities: An Introduction to Migration Studies (p. 145), Parthiban Muniandy Sociology THE CURRICULUM 117

First-Year Studies: (Re)Constructing the Social: homogeneous societies, since only in such societies Subject, Field, Text (p. 145), Shahnaz Rouse can a people be sufficiently similar and equalo t form Sociology shared political understandings and projects. Absent Marx and Marxisms: Lineages and Contemporary considerable commonality—religious, linguistic, Relevance (p. 147), Shahnaz Rouse Sociology ethnic, racial, and/or cultural—as well as political First-Year Studies: The New Narrative and perhaps social equality, it is feared that Photography (p. 165), Joel Sternfeld Visual and democracy deteriorates into the tyranny of the Studio Arts majority or a war of all against all or a shallow The Ideas of Photography (p. 170), Joel Sternfeld contest of competing interests. At the outset of the Visual and Studio Arts 21st century, however, we are witness to two What’s the Story? A Radio Journalism Class (p. 178), dramatic shifts in the character of society that Sally Herships Writing increasingly seem to challenge the viability of democracy, at least if these long-held views about its necessary social presuppositions are correct. On the one hand, democratic societies have become POLITICS increasingly unequal as a result of globalization, changes in the nature and remuneration of work, The study of politics at Sarah Lawrence College new policies, and new political conditions. On the encompasses past and present thinking, political other, democratic societies are increasingly diverse and interdisciplinary influences, and theoretical and and their citizens less willing to “forget” their many hands-on learning. The goal: a deep understanding of differences to melt into a dominant national culture. the political forces that shape society. How is power These developments raise some basic questions. Can structured and exercised? What can be the character of democracy be reconceived so that it accomplished through well-ordered institutions? is either better suited to—and/or better able to And how do conditions that produce freedom modify—these new social conditions? If not, is compare with those that contribute to tyranny? democracy doomed? Or might it be possible to Questions such as these serve as springboards for reform democracy to render it compatible with stimulating inquiry. conditions of deep diversity while also making it Rather than limit ourselves to the main capable of securing the requisite degrees of political subdisciplines of political science, we create and social equality? This course will explore these seminars around today’s issues—such as feminism, questions in a number of ways. We will study international justice, immigration, and poverty—and exemplary historical statements of the ideal of analyze these issues through the lens of past democracy, drawing on traditional works in political philosophies and events. We don’t stop at artificial philosophy. We will also draw on contemporary work boundaries. Our courses often draw from other in sociology, anthropology, cultural and legal studies, disciplines or texts, especially when looking at and political science to examine the nature of social complex situations. Because we see an important and cultural diversity, including religion, class, connection between political thought and political gender, sexuality, and race. We will draw on a similar action, we encourage students to participate in range of disciplines to seek to comprehend the service learning. This engagement helps them apply causes and consequence of the widening inequality and augment their studies and leads many toward characteristic of almost all economically advanced politically active roles in the United States and democratic societies. Finally, we will explore works around the world. that bring these themes together by examining current scholars‘ efforts to (re)articulate the ideal First-Year Studies: Democracy, and practice of democracy in light of increased Diversity, and (In)Equality diversity and inequality. By the end of the course, David Peritz students will have been introduced to a variety of Open, FYS—Year different disciplines in the social sciences, with a From ancient times through the major modern special focus on contemporary political philosophy, democratic revolutions, democracy’s advocates—as and will have surveyed a number of different well as its critics—believed that democracy proposals for deepening democracy in 21st-century requires, and tends to bring about, political equality. social conditions. Educational objectives include Often democratic equality has also been understood acquiring, developing, and perfecting the skills to entail important limits on social inequality. And it necessary to: read demanding texts with care and has also been long presupposed—and sometimes rigor; participate in focused analytic discussion of argued—that democracy only works in fairly these texts; write, edit and revise interpretive and 118 Politics argumentative academic essays; and conduct include: Under what circumstances did Western original, independent research projects. Students states engage in humanitarian or other forms of will meet for individual conferences to discuss their intervention in response to conflict? Why did the independent research projects on a biweekly basis international community withdraw during the and will also participate in small-group, biweekly Rwandan genocide? What institutions did the meetings to discuss, among other things, the international community establish in order to applicability of various concepts discussed in support human rights, and how effective have they seminar to everyday social and political contexts; to been? We will consider the various forms of justice engage in peer-writing workshops; and to take trips pursued after the Rwandan genocide, as well as the to New York City as a “laboratory” of democracy, charge that the International Criminal Court is diversity, and inequality. targeting African states. Finally, we will use what we have learned to consider the impact of the United First-Year Studies: Imperialism, States’s Global War on Terrorism (GWOT) on US and other military actions on the African continent. The Resistance, Development, United States has dramatically increased its military Intervention: African States in the presence on the continent in the last decade, as International System members of the US military have engaged in Elke Zuern dramatic firefights with militants in East Africa and Open, FYS—Year the Sahel. US-armed drones have killed significant This course will engage key questions in numbers. We will consider how those interventions development studies, international relations, and impact the prospects for short-term and long-term politics from the perspectives and experiences of peace and development. This course will not provide African states and societies. We will begin with the any easy answers but will equip students to ask African continent’s introduction to international better questions, to effectively support their politics and economics through trade in goods and arguments, and to engage in in-depth research. slaves to imperialism and colonialism. We ask not Conference meetings will largely be one-on-one, but just what Europeans wanted but also how Africans we will also schedule a few small group conferences responded and resisted. We will also investigate during the year. There is also the possibility of full present-day campaigns to address colonial-era group outings, depending upon local events. human-rights violations. With the end of colonial rule, independent African states became full, but Breakin’ Up Is Hard To Do: subordinate, members of the international system. Secession and Exit in the “End of As the Cold War reached new heights, states were pressed to choose between capitalism and History” communism, to ally with the West or the Soviet Yekaterina Oziashvili Union. We will explore the forms of economic and Open, Seminar—Year political development that states and social actors The end of history will be a very sad time. The pursued. What sorts of aid did they receive? What struggle for recognition, the willingness to risk one’s conditions were attached to that aid? What room life for a purely abstract goal, the worldwide was there for democracy? What role did institutions ideological struggle that called forth daring, courage, like the World Bank play in aggravating or alleviating imagination, and idealism will be replaced by conditions of poverty? We will bring our discussion economic calculation, the endless solving of of international aid and development up to the technical problems, environmental concerns, and the present by discussing China’s dramatically expanded satisfaction of sophisticated consumer demands. In role on the African continent by providing loans, the posthistorical period, there will be neither art nor building infrastructure, and engaging in trade. We philosophy, just the perpetual caretaking of the will conclude the fall semester by considering to museum of human history. I can feel in myself, and what extent China presents either a different model see in others around me, a powerful nostalgia for the of development and international politics or just an time when history existed. —Francis Fukuyama, The updated version of earlier models. During the second End of History. semester, we will focus on war, interventions, justice, and peace. With the end of the Cold War, In 1989, as liberal capitalist democracy appeared to African states experienced a dramatic increase in be the only game in town, Francis Fukuyama civil and interstate wars. We will investigate the predicted the end of history. For him, it was bound to central causes of key conflicts, as ellw as be an age of boredom. Meanwhile, liberal and interventions by non-African states. Key questions neoliberal theory proponents predicted greater THE CURRICULUM 119 economic interdependence and cooperation among human trafficking, global arms adetr and drug states and other actors in the international system. smuggling—are what former UN Secretary-General They argued that as states accepted liberal Kofi Annan efr erred to as “problems without democracy and capitalism, opened their borders to passports,” because they transcend national trade, and embraced the free market, everyone boundaries and cannot be solved by states acting would benefit rf om economic prosperity and “liberal unilaterally. Rather, Annan argued, such challenges peace.” Ironically, the end of history has proven require “blueprints without borders.” International surprisingly eventful. The collapse of the Eastern organization may be the most, if not the only, Bloc has resulted in multiple armed conflicts in appropriate forum for tackling transnational issues. postsocialist Eastern Europe. Some observers have This course examines international organizations per dismissed these conflicts merely as the price for se, but its main focus is the broader concept of how joining the posthistorical world of liberal the international community organizes to address democracies. Yet, increasing disappointment with collective problems. Increasingly, states choose to mainstream (neo)liberal parties and the growing pool sovereignty in supranational institutions like popularity of antiestablishment parties, both on the the European Union and to cede authority in certain right and on the left, do not fit omfc ortably with the issue areas to intergovernmental narrative of postideological boredom. Neither are organizations—both global, such as the United Brexit and heated debates over Grexit and separatist Nations, and regional, such as NATO—that then take movements in Scotland and Catalonia compatible on a life of their own. At the same time, with (neo)liberal theories of convergence and of nongovernmental actors, including nonprofit human- growing importance of international alliances. What rights organizations as well as multinational is evident is that many of the tensions and corporations, are interacting with states in the fundamental contradictions of liberalism are far international arena—both challenging them and from having been resolved. The end of history has collaborating with them. What collective problems turned out to be a time of major political and exist at the international level? What solutions are economic upheavals. From global financial crises ot states and other actors pursuing? Why do some the growing popularity of the radical right and the international organization efforts succeed and many illiberal fascination with nativism, xenophobia, and fail? We will investigate these questions through a racism, the West seems to be in the very midst of discussion of international organization’s role in the history after all—and the future looks more chaotic areas of global migration, international security and than ever. In this yearlong class, we will study the justice, and responses to global health pandemics new rise of competing ideologies, nationalist and climate change. movements, and exit from liberal alliances that threaten to tear Europe apart and attempt to Scholars at Risk: The Politics and understand their sources and potential implications. We’ll discuss how nationalist movements and the Practice of Human-Rights eventual collapse of the Eastern Bloc were Advocacy associated, paradoxically, with the rejection of Janet Reilly nationalism as a serious challenge to liberalism. Open, Seminar—Spring We’ll ask why Eastern European secessionist and The course focuses on the history and politics of the other nationalist movements were praised as human-rights regime and humanitarianism, human- liberalism- and democracy-promoting, while their rights advocacy (theory and praxis), advocacy Western counterparts are seen as reactionary, anti- networks, information politics, advocacy strategies democratic, and illiberal. Overall, we will attempt to and techniques, and human-rights monitoring and understand the challenges that contemporary reporting. Around the world, scholars and students politics pose to liberal predictions of growth, peace, are routinely threatened, imprisoned, and even killed and international cooperation after the so-called end as part of targeted attacks on higher-education of history. individuals and institutions. Scholars at Risk (SAR) is a nongovernmental organization that monitors International Organization violations of academic freedom worldwide, provides scholarships for threatened scholars, and advocates Janet Reilly for the release of imprisoned scholars. In Open, Seminar—Fall partnership with SAR, students in this course will The most pressing issues of our time—climate select the case of an imprisoned scholar, research change, refugee crises, global pandemics such as AIDS and SARS, world hunger and poverty, terrorism, 120 Politics the case, and create an advocacy campaign for the distortion; the role of (new and old) mass media in scholar’s release—which will include a trip to late-modern democratic politics; the question of Washington, DC, to lobby lawmakers. whether constitutional democracy is intrinsically valuable or inherently contradictory, in general, and Damaged Democracy: Structural whether the American Constitution is (anti) democratic; the way in which different aspects of an Roots of Democratic Dysfunction electoral system, from districting to how winners David Peritz and losers are determined, structure different forms Intermediate/Advanced, Seminar—Year of democracy; and whether the politics of identity is, Contemporary democratic and American politics are at once, redressing historical injustice while also deeply unsettled. Throughout the democratic world, fracturing democratic solidarity. Finally, the course popular disaffection and anger with “politics as will conclude by considering some proposals to usual” propels candidates from outside the strengthen democracy as we move into the heart of establishment into front-runner status. The “new the 21st century. normal” of our politics includes partisan polarization, an escalation of rhetorical salvos, persons with little to no political experience being State Terror and Terrorism elevated to leadership positions, an increasing Elke Zuern impatience with the rule of law and similar Intermediate/Advanced, Seminar—Fall institutional niceties, and media saturated with The events of September 11, 2001, unleashed a bitter highly negative and distortive reportage and and contentious debate regarding not just how advertising. This political climate belies the gravity states and societies might best respond to the threat of issues faced: the erosion of wages and standards of violence but also, fundamentally, what qualifies of living; increasing inequality and stalled social as terrorism. Just nine days later, and without mobility; unsustainable spending on core state resolving any of these difficult issues, the United goods, including social security and medical care; States announced its response: The Global War on ongoing security challenges; global climate change; Terrorism. Almost two decades later, we are no education and healthcare systems that deliver closer to consensus concerning these politically and mediocre results at extraordinarily high costs; etc. emotionally charged debates. This course will What are we to make of our democratic investigate the use of violence by state and nonstate ambivalence, as we live with the triumphs and actors to assert their authority and to inspire fear. troubles of a political system that is the The modern state, as it was formed in Western worst—except for all the others? To gain insight into Europe, was born of war. In Charles Tilly’s often- these issues, we will look at democracy from a more quoted phrase: “War makes states, and states make philosophical, historical, and comparative war.” The ability to control violence within a territory perspective. We will examine transformations in has long been a key part of the definition of a American political institutions, economics, and civil functioning state. The presence of armed groups on culture that have, perhaps, made our politics at once a state’s territory, which the state does not or more inclusive but also more fractious, unequal, and cannot effectively control, is therefore a direct dysfunctional. The first semester will concentrate on challenge to a state’s authority and has the potential the history of modern democracy, looking both to to undermine its recognition as an international develop a strong, critical account of democracy as a actor. After briefly discussing the historical normative ideal by studying its theoretic roots in development of modern states, we will investigate seminal texts of modern political thought from the evolution of the terminology of terror and Locke to Tocqueville and to gain a critical historical terrorism from the French Revolution to today. We overview of its cultural and institutional genesis, will explore acts of state terror and their evolution, and decay (Fukuyama and Habermas). We consequences and consider the use of the term will then turn, mainly in the second semester, to ”terrorism” in the popular press, in political rhetoric, examine some main aspects of the forces troubling and in policymaking by states and international democracy in the United States and elsewhere, organizations. We will investigate a number of surveying, in turn: the decline of the legislative nonstate actors that employed violence—including process; the decline of political parties and voluntary South Africa’s ANC, Sri Lanka’s LTTE, and Al Qaeda, associations and the consequent “hollowing out” of among others—and consider the impact this had civil society; important changes in the political both for their popular support and for the local and economy that have rendered democratic capitalism transnational communities impacted by their more prone to crisis, oligarchic capture, and cultural struggle. Finally, we will consider how various forms THE CURRICULUM 121 of violence have been either memorialized or Other courses of interest are listed below. Full publicly forgotten. Prior coursework in the social descriptions of the courses may be found under the sciences and/or related disciplines is required. appropriate disciplines. First-Year Studies: How Things Talk: The Linguistic Community and Civility Materialities of Late Capitalism (p. 4), Aurora Samuel Abrams Donzelli Anthropology Advanced, Seminar—Year Paris, City of Light and Violence (p. 4), Robert R. Social theorist Wendell Berry argues, “A community Desjarlais Anthropology is the mental and spiritual condition of knowing that Specters of the Subject: Hauntologies of Ghosts, the place is shared and that the people who share Phantasms, and Imaginings in Contemporary the place define and limit the possibilities of each Life (p. 7), Robert R. Desjarlais Anthropology other’s lives. It is the knowledge that people have of Understanding Experience: Phenomenological each other, their concern for each other, their trust Approaches in Anthropology (p. 5), Robert R. in each other, the freedom with which they come Desjarlais Anthropology and go among themselves.” This course will explicitly Privacy, Technology, and the Law (p. 28), Michael examine Berry’s ideas about collective possibility Siff Computer Science and how community shapes the American idea, our Legal Analysis of Business History: Corporate national ethos, political and social life, and the very Governance, Democracy, and Economic concept of civility that is essential in society. From Transformation (p. 40), Jamee K. Moudud America’s founding to the Age of Trump, the course Economics will look at how concepts of community and civility Econometric Analysis: Structural Explorations in the have evolved from New England and frontier towns Social Sciences (p. 38), Jamee K. Moudud to suburban postwar sprawl and the current rise of Economics inner cities, planned communities, and Microeconomic Theory and Policy: Advanced gentrification. Moreover, the course will attempt to Topics (p. 40), Jamee K. Moudud Economics make sense of the seeming polarization in American Resource Economics and Political Ecology (p. 39), society today, along with the concurrent rise in John Casey Nicolarsen Economics rudeness, anxiety, social dislocation, and isolation Introduction to Property: Cultural and Environmental that is chronicled regularly in both popular and Perspectives (p. 42), Charles Zerner academic writing. To be sure, this course on Environmental Studies community and civility fits into a larger and growing Landscapes in Translation: Cartographies, Visions, area of research that has shown that the norms and and Interventions (p. 42), Charles Zerner networks of civil society have powerful practical Environmental Studies effects in many disparate geographic, political, and Documentary Filmmaking: Truth, Freedom, and economic arenas, including questions of inequality Bearing Witness (p. 47), Damani Baker and social mobility. We will examine concepts such Filmmaking and Moving Image Arts as “social capital” and “civil society,” and the Food, Agriculture, Environment, and seminar will explore these areas with a focus on the Development (p. 61), Joshua Muldavin United States. Although many issues, concepts, and Geography methods discussed in this seminar have important Introduction to Development Studies: The Political analogues in other settings, from the United Ecology of Development (p. 62), Joshua Kingdom to Brazil, the literature and substantive Muldavin Geography focus of this seminar is entirely US-based. This Intermediate/Advanced Greek: Defeating Despotism: seminar is intended to be both practical and Essential Strategies From Ancient Greek and contemporaneous to the politics of the present, and Roman Epic Poetry (p. 65), Emily Katz Anhalt it will straddle the border between academic Greek (Ancient) research and contemporary policy questions. The Palestine/Israel and the Politics of History (p. 71), course will be both applied and theoretical and will Matthew Ellis History ask students to apply social scientific oncc epts and The Price of Citizenship: A History of Poverty and methods to controversial public problems. The Public Policy in the United States (p. 68), course is advanced, the workload is intense, and Komozi Woodard History prior background in American history and politics is International Law (p. 68), Mark R. Shulman History preferable. Making Latin America (p. 68), Margarita Fajardo History 122 Psychology Right and Left in Latin America (p. 74), Margarita PSYCHOLOGY Fajardo History Drugs, History, and Politics in Latin America and How do infants navigate their world? How do factors Beyond (p. 74), Margarita Fajardo History as diverse as genetics, socioeconomic status, social Beginning Latin (p. 81), Emily Katz Anhalt Latin networks, mindfulness practices, and access to open The Music of What Happens: Alternate Histories and spaces contribute to how people cope with the Counterfactuals (p. 93), Fredric Smoler problems of living? How do technology, architecture, Literature language, and cultural practices affect how we Defeating Despotism: Essential Strategies From think? What accounts for the global epidemic of Ancient Greek and Roman Epic Poetry (p. 88), mental health issues? What has psychology Emily Katz Anhalt Literature contributed to understanding genocide and torture? First-Year Studies: 20th-Century Italian In what ways can psychologists illuminate the Literature (p. 86), Tristana Rorandelli Literature mystery of the creative process in science and art? 17th-Century British Literature (p. 88), William How does morality develop? What factors determine Shullenberger Literature our political, economic, and moral decisions? What An Introduction to Statistical Methods and happens in mind and body as we experience Analysis (p. 95), Daniel King Mathematics emotions? These reflect just a ewf of the questions Game Theory: The Study of Conflict and discussed in our psychology courses, a sampling of Strategy (p. 96), Daniel King Mathematics the broad range covered in the psychology Philosophy as Therapy (p. 112), Abraham Anderson curriculum. Philosophy We offer courses from the domains of How to Become Who You Are: Readings in biological, clinical, cognitive, community, cultural, Nietzsche’s Philosophy of Life (p. 113), Roy Ben- developmental, educational, experimental, health, Shai Philosophy personality, and social psychology. Our courses The Experiences of Immigrant Children (p. 131), emphasize the interplay of theory and observation, Rochelle Cassells Psychology research and analysis, understanding and What’s in a Name? Perspectives on Poverty (p. 129), applications. Our courses are also inherently Rochelle Cassells Psychology interdisciplinary, making connections between Immigration, Race, and the Making of the United psychology and other fields such as biology, States: An Immigration Policy anthropology, education, linguistics, public policy, Perspective (p. 136), Luisa Laura Heredia Public public health, women’s studies, philosophy, and the Policy arts. Students have a variety of choices as they Marijuana, DACA, and Guns: A Primer on Voice and design their independent conference work. Power in Crafting Policy Change (p. 136), Luisa Some conference projects consist of reviewing Laura Heredia Public Policy and analyzing the primary research literature on a American Religious Mythmaking: The Stories We Tell topic of interest. Others make experiential learning Ourselves (p. 139), Irene Elizabeth Stroud central to the independent work. Opportunities open Religion to students include: assisting at our Early Childhood First-Year Studies: Nations, Borders, and Mobilities: Center, in local schools, or at clinics; planning and An Introduction to Migration Studies (p. 145), carrying out original research in one of three Parthiban Muniandy Sociology psychology lab spaces on campus (the Child Study First-Year Studies: (Re)Constructing the Social: Lab, the Cognition and Emotion Lab, and the Adult Subject, Field, Text (p. 145), Shahnaz Rouse Experimental Psychology Lab); working with Sociology community organizations in Yonkers, New York; and Marx and Marxisms: Lineages and Contemporary participating in environmental education at our Relevance (p. 147), Shahnaz Rouse Sociology Center for the Urban River at Beczak (CURB). First-Year Studies: Fake News, Real News, News That Psychology is also a core component of two focused, Stays News (p. 173), Vijay Seshadri Writing semester-long, community-based academic What’s the Story? A Radio Journalism Class (p. 178), programs: the Intensive Semester in Yonkers and Sally Herships Writing Sarah Lawrence College’s Study Abroad Program in Nonfiction orkW shop: To Tell the Truth (p. 178), Sub-Saharan Africa. Suzanne Gardinier Writing THE CURRICULUM 123 Ideas and skills developed in class and in First-Year Studies: The Developing conference often play a formative role in the Child: Perspectives and Contexts intellectual and professional trajectories of students who go on to pursue these ideas in a wide range of Jan Drucker fields, including clinical and research psychology, Open, FYS—Year education, medicine, law, the arts, social work, Developmental psychology often focuses on early human rights, and politics. Our alums tell us that the childhood as the context in which the foundations of seminar and independent conference work here all kinds of later psychological functioning can be prepared them well for the challenges of both seen—from thinking and feeling and imagining to graduate school and their careers. social interaction, attachment relationships, The college has two psychology-related emotional life, and personality organization. This graduate programs: Art of Teaching and Child course is about how children develop from birth Development. These offer the possibility for our through adolescence, with special emphasis on the undergraduate students to pursue both their first seven years. We will look at this from various bachelor’s and master’s degrees in five years of perspectives: the perspective of our own and other study. The college also offers a dual-degree program people’s memories of childhood—the perspective of with the New York University Silver School of Social experience; the perspective of what we see when we Work, allowing Sarah Lawrence undergraduates to carefully watch children in natural settings and obtain a BA, a Master of Social Work, and an MA in listen to their words—the perspective of Child Development in six years. observation; and the perspective of the concepts psychologists have formulated about development First-Year Studies: Child and based on their empirical research and reflections—the perspective of theory. The various Adolescent Development contexts in which children develop will be Carl Barenboim considered throughout the course. We will draw on Open, FYS—Year various sources as we study the developing child. In this course, we will study the psychological Readings will be drawn from developmental growth of the child from birth through adolescence. psychology (theory and research); from memoir and In the process, we will read about some of the major literature; from anthropology and cultural theories that have shaped our thinking concerning psychology; from education (addressing children’s children, including psychoanalytic (Freud and learning processes and schooling); from clinical Erikson), behaviorist (Skinner), social learning psychology (about the challenges children may face (Bandura), and cognitive developmental (Piaget). A and how to help them); and from media accounts number of aspects of child development will be about children, childhood, and social policy. considered, including: the capabilities of the infant; Reflections on our xperience es, past and present, the growth of language, thinking, and memory; will begin the year and be returned to periodically. various themes of parent/child relations (including Observations of children will be ongoing, both formal attachment, separation, and different parenting ones as assigned periodically for class and styles); peer relations (friendships, the “rejected informally every time we have the opportunity to see child”); sex role development; some of the “real- children. Fieldwork is a central and ongoing core of world” challenges facing today’s children and the course—each student will work all year in an adolescents (e.g., “pushing” young children, divorce, Early Childhood Center (ECC) preschool classroom and single-parent/blended families); and the two mornings or afternoons a week, serving as part modern study of childhood resilience in the face of of the teaching team—being participant observers difficult circumstances. Direct experience with so as to have the best view possible of children’s children will be an integral part of this course, individual development and ongoing lives at school. including fieldwork at the Early Childhood Center or Previous experience with children is not required, other venues. Written observational diaries will be but the desire to immerse oneself in children’s lives used as a way of integrating these direct in the classroom is a must. Discussion will take experiences with seminar topics and conference place—in the seminar, before and after ECC class readings. time with the teaching team, in conference, among classmates—about all you are reading and seeing and wondering about. Writing will include seminar writing assignments, from observations to short essays, and conference papers. Conference work first semester will draw on the fieldwork, with 124 Psychology accompanying readings on a topic of individual course for artists who like to think about science interest. In the second semester, conference work and for scientists with a feeling for art. This is a may continue to focus on fieldwork but may also collaborative course. The main small-group move away from it into various domains of collaborative activity is a sensory lab where students developmental psychology. will have the opportunity to explore their own sensory perceptions in a systematic way, First-Year Studies: The Senses: Art investigating how they relate to language, memory, and emotion. The other group activities include some and Science museum visits: The American Museum of Natural Elizabeth Johnston History has a current exhibit devoted to the senses, Open, FYS—Year the Metropolitan Museum of Art has an encyclopedic The perceiving mind is an incarnated mind. collection that will be the focus of a group curation —Maurice Merleau-Ponty, 1964 assignment, and MOMA holds a wealth of abstract perceptual possibilities that we will investigate Sensory perception is a vital component of the together. creation and experience of artistic works of all types. In psychology and neuroscience, the investigation of sensory systems has been Sleep and Health: Clinical foundational for our developing understanding of Conditions and Wellness brains, minds, and bodies. Recent work in brain Meghan Jablonski science has moved us beyond the Aristotelian notion Open, Lecture—Fall of five discrete senses to a view of the senses as A key and often-overlooked aspect of recharging is more various and interconnected—with each other also one of the most obvious: getting enough sleep. and with the fundamental psychological processes There is nothing that negatively affects my of perception, attention, emotion, memory, productivity and efficiency more than lack of sleep. imagination, and judgment. What we call “taste” is a After years of burning the candle on both ends, my multisensory construction of “flavor” that relies eyes have been opened to the value of getting some heavily on smell, vision, and touch (mouth feel); serious shuteye. —Arianna Huffington, Sarah “vision” refers to a set of semi-independent streams Lawrence College Commencement Address, 2012 that specialize in the processing of color, object identity, or spatial layout and movement; “touch” Sleep is an incredibly powerful piece of the human encompasses a complex system of responses to experience—one everyone does or does not do different types of contact with the largest sensory enough—that is often marginalized in contemporary organ—the skin; and “hearing” includes aspects of culture. This open-level lecture examines historical, perception that are thought to be quintessentially developmental, neuropsychological, physiological, human—music and language. Many other and cultural perspectives on the construct of sleep sensations are not covered by the standard five: the and explores the role of sleep in psychopathology, sense of balance, of body position (proprioception), relevant medical conditions, and wellness. How sleep feelings of pain arising from within the body, and impacts, and is impacted by, clinical conditions will feelings of heat or cold. Perceptual psychologists be examined, along with Eastern and Western have suggested that the total count is closer to 17 approaches to understanding sleep phases, body than to five. We will investigate all of these senses, clocks, and sleep regulation. Historical and their interactions with each other, and their intimate contemporary theories of dreaming—including relationships with human emotion, memory, and dream structure and the role of dreaming in memory imagination. Some of the questions we will address consolidation, creative problem-solving, and are: Why are smells such potent memory triggers? preparing for the future—will be considered. What can visual art tell us about how the brain Differences in developmental sleep needs will be works, and vice versa? Why is a caregiver’s touch so considered, as well as gender differences in sleep vital for psychological development? Why do foods behaviors. The impact of sleep deprivation on that taste sublime to some people evoke feelings of cognitive function, school/work performance, mood, disgust in others? Do humans have a poor sense of and social functioning will be examined, as well as smell? Why does the word “feeling” refer to both socioeconomic barriers to adequate sleep (e.g., shift bodily sensations and emotions? What makes a song work), pressures of 24-hour culture, and use of “catchy” or “sticky”? Can humans learn to digital devices. The course will conclude with a look echolocate like bats? What is the role of body at the powerful benefits of sleeping ell,w including perception in mindfulness meditation? This is a good evidence from electroencephalogram (EEG) and THE CURRICULUM 125 neuroimaging data, as well as from examination of as concepts, with special attention to what is known cultures with exceptionally high levels of well-being. of the related neuroscience. This lecture is a super- This class will meet for one lecture section and one lecture and may enroll up to 60 students. smaller seminar section per week, plus A/B-week group conference sections. Weekly lectures will It’s Complicated: The Nature of focus on the neuropsychological, cognitive, and clinical aspects of sleep phenomena. Weekly Emotions seminar sections will offer deeper discussion of Rochelle Cassells lecture material and related psychosocial topics. Open, Lecture—Spring Conference groups will meet every other week for In the words of Jonathan Swift, “It is useless to supervision on group conference work. Weekly attempt to reason a man out of a thing he was never reading assignments will include literature in sleep reasoned into.” In the words of another Swift: “Shake science, developmental psychology, cognitive it off.” How do those quotations from popular psychology, neuropsychology, physiology, positive discourse contribute to our understanding of psychology, clinical theory and research, relevant emotions? Can emotions be defined as simply the case studies, essays, and memoir. Select film and opposite of reason? Do they function outside of our documentary material will be included for class control, or can they be regulated? And if they can be discussion. Additionally, class members will follow regulated, which strategy is best: one that shifts our the topic of sleep in popular media. All class attention away from emotional stimuli or one that members will be asked to monitor their sleep avoids them altogether? These questions represent patterns using available sleep apps and/or only part of the curiosity in understanding the observation logs. Group conference work will be complex nature of emotions. In this open-level based on sleep-log observations and experience with lecture, our broad aim is to answer, as best we can, sleep strategies related to class material. Group the question of what emotions are. We will explore conference projects will include a group this question through readings from cognitive presentation and written summary of key science, neurobiology, psychology, and the creative observation themes supported by relevant empirical arts. The course will begin with a review of historical literature. Projects will consider developmental sleep and contemporary theories of emotion to facilitate needs, quality of sleep environment, light/dark discussion about the way each perspective defines exposure, use of digital devices, and bedtime routine. emotion. Course themes include explorations of the Project themes may also include topics related to tension between emotion and cognition, the sleep, such as dreaming, memory/other cognitive relationship between emotion and the body, the functions, cultural aspects of sleep, and/or interplay between emotion and relationships, the mindfulness meditation. Students interested in intersection of emotion and psychopathology, and developmental aspects of sleep in children may emotion regulation. Students are encouraged to complete a weekly fieldwork placement at the Early contemplate their own emotion-regulation Childhood Center. strategies and to reflect on their effectiveness in dealing with challenging emotional situations. Students will be given the opportunity to delve Anxiety, Stress, and Health deeper into these course themes through group David Sivesind conference projects. Course content will be infused Open, Lecture—Fall with discussions of emotion in popular culture. This course is a multidisciplinary overview of Together, we will look at the ways in which emotions anxiety. What exactly is anxiety? How is the concept are discussed in music, literature, and film and what of stress related? There are countless articles studies in this area have to offer by way of warning of the dangers of stress for human physical increasing our understanding of emotions in and psychological health. This class aims to start everyday life. Lecture. slightly earlier and examine the topic in depth. Are we talking about an emotional condition? A body process gone awry? Are we in the “Age of Anxiety,” Art and Visual Perception as some have suggested? Can you feel your own Elizabeth Johnston anxiety reading this? We will trace the progression Open, Lecture—Spring of related conditions, from post-traumatic stress Seeing comes before words. The child looks and disorder to substance abuse, psychosis, and other recognizes before it can speak. —John Berger conditions. The class will explore anxiety and stress Psychologists and neuroscientists have long been interested in measuring and explaining the 126 Psychology phenomena of visual perception. In this course, we Virtually Yours: Relating and will study how the visual brain encodes basic Reality in the Digital Age aspects of perception—such as color, form, depth, motion, shape, and space—and how they are Meghan Jablonski organized into coherent percepts or gestalts. Our Open, Seminar—Year main goal will be to explore how visual neuroscience This yearlong seminar will examine relating and and art-making can inform each other. One of our reality in the digital age. In the fall semester, we will guides in these explorations will be the focus on ways in which humans have evolved to groundbreaking gestalt psychologist Rudolf Arnheim, relate to each other and to be related to and how our who was a pioneer in the psychology of art. The more innate relational patterns fit (or do not fit) within recent and equally innovative text by the the rapidly evolving digital world. We will consider neuroscientist Eric Kandel, Reductionism in Art and ways in which digital life is changing how people Brain Science, will provide our entry into the subject relate and ways in which this may be challenging for of neuroaesthetics. Throughout our visual journey, some but beneficial orf others. We will begin with we will seek connections between perceptual relevant historical and developmental perspectives phenomena and what is known about brain on attachment theory, human bonding, and shifting processing of visual information. This is a course for relational expectations. We will move on to consider people who enjoy reflecting on why we see things as how various realms of the digital world (e.g., social we do. It should hold particular interest for students media, messaging, dating apps, video chats, artificial of the visual arts who are curious about scientific intelligence, virtual reality) impact our relational explanations of the phenomena that they explore in patterns, as well as aspects of self- and identity their art, as well as for students of the brain who expression (e.g., of gender, sexuality, values, beliefs, want to study an application of visual neuroscience. interests). We will consider the role of digital spaces in making new connections, building friendships, falling in love, and maintaining romantic bonds, Crossing Borders and Boundaries: along with bullying, revenge, trolling, and potential The Social Psychology of barriers to empathy that may occur when our gazes Immigration are fixed on screens and not on each other. We will Gina Philogene also consider our emerging engagement with Open, Lecture—Spring artificial intelligence and our attachment to digital Immigration is a worldwide phenomenon whereby devices themselves. In the spring semester, we will people move into another nation with the intention examine how reality has been defined historically, of making a better life for themselves and/or clinically, and culturally; how one’s sense of reality is residing there temporarily or permanently. While shaped through development; and what internal, anchored in a multidisciplinary perspective, this environmental, social, and cultural factors seminar explores the crucial role of psychology in contribute to one’s sense of reality. Can reality ever understanding the processes associated with our truly be objective? Building on material from the conceptualizations of immigrants and immigration. first semester, we will examine the innate, The course begins with some theoretical developmental, cultural, and social psychological perspectives on immigration, as well as a brief factors that shape our perception of reality and our historical overview of sociological and social choice of reliable sources, including the roles of psychological research on immigrants. We then race, gender, and ethnicity in these processes. We examine the identity of the immigrant, stressing the will consider how psychological constructs and profound distinctions between forced and voluntary psychometric measures of reality have taken those immigrants. We will analyze the processes through factors into consideration, both currently and which “illegality” is constructed by reflecting on the historically. We will next consider ways in which lives of undocumented immigrants. We will look at one’s sense of reality may be impacted by clinical how the intersections of race, class, gender, conditions such as brain injury, psychosis, sexuality, and culture shape the psychological depression, trauma, and anxiety; altered by experience of immigrants. Seeking to extend our substances such as psychedelics; influenced by analysis to immigration’s impact on the host dreams; and potentially enhanced through population, we conclude the course by discussing meditation. We will then consider how the content, several social psychological issues such as pace, and sheer volume of information currently intergroup relations, discrimination, and modes of cycling through social media and 24-hour news adaptation. outlets may impact our perception of reality. Classes will be both discussion-based and experiential, with THE CURRICULUM 127 opportunities for observation (e.g., observing contributions from positive psychology are an effort children relating/engaging in play in the SLC Early to redirect the field ot ward areas where human Childhood Center free from digital devices) and in- beings get it right. An introduction to the relevant class activities related to weekly topics (e.g., theories and research in positive psychology will comparing experiences engaging with early logic- help ground our thinking about this perspective and based digital toys such as Simon and Speak ’n’ Spell what it has to say about human potential and well- vs. digital toys that express affection such as Furby being. A review of recent empirical research will and contemporary AI). Class reading will include allow students to contemplate the following primary- and secondary-source academic material questions: Does money make us happy? Can listening from diverse perspectives in developmental, to music build resilience? Why do some people neuropsychological, clinical, and cultural psychology persevere through adversity while others do not? and related fields. Supplemental material will How does our biological need to connect with others include relevant literature, memoir, TedTalks, and act as a buffer against stress? What benefits do popular media coverage of related topics. clinical research and practice stand to gain from an Conference topics may include, but are not limited integrated positive psychology perspective? to, the role of digital spaces in forming and Readings will draw upon topics related to maintaining relationships; relationships formed to attachment and social connection, mindsets and artificial intelligence and/or digital devices; and/or optimism, pleasure and happiness, and meaning and developmental, neuropsychological, clinical, social, purpose. Particular attention will be paid to the and/or cultural perspectives on/shifts in relating in effects of stress and negative thought patterns on the digital age. Conference projects may be physical and mental wellness. Weekly challenges and completed in the form of an APA-style literature reflections will be used ot connect course materials review, original data collection, and/or a creative to students’ lived experiences. piece with academic justification and will include a class presentation. All students will be required to Perspectives on Child make a one-time observational visit to the SLC Early Childhood Center (ECC) and to the Wartburg, a center Development for older adults. Optional weekly fieldwork is Charlotte L. Doyle available and encouraged for any interested Open, Seminar—Fall students. When placed at the Early Childhood Center A noted psychologist once said, “What you see (ECC), for example, students will work closely with depends on how you look.” Our subject is the worlds classroom teachers one hour per week and will of childhood; and in this class, we try out the lenses become part of the classroom (as advised and of different psychological theories to highlight supervised by classroom teachers) while different aspects of those worlds. Freud, Erikson, maintaining weekly observation logs relevant to Bowlby, and Stern provide differing perspectives on seminar objectives and conference work. When emotional development. Skinner, Bandura, Piaget, placed at the Institute for Music and Neurological and Vygotsky present various approaches to the Function at Wartburg, students, working with staff, problems of learning and cognition. Chess and her will use digital tablets to help residents in dementia colleagues take up the issues of temperament and and Alzheimer’s care develop individualized playlists its interaction with experience. Chomsky and others of meaningful songs and music in order to help them deal with the development of language. We will read connect with important memories and important the theorists closely for their answers but also for relationships throughout their lives. Students will their questions, asking which aspects of childhood help residents access these playlists and write up a each theory throws into focus. We will also examine playlist protocol to be shared with future caregivers some systematic studies that developmental and family members for continued use. Optional psychologists have carried out to confirm, estt , and fieldwork requires a two-hour weekly time critique various theories: studies of mother-infant commitment plus 15-20 minutes travel time. relationships, the development of cognition and language, and the emergence of intersubjectivity. In several of these domains, studies done in cultures Building Resilience: Tools From other than our own cast light on the question of Positive Psychology universality versus cultural specificity in Rochelle Cassells development. Direct observation is an important Open, Seminar—Fall complement to theoretical readings. In this class, all For decades, psychology could be considered the students will do fieldwork at the Early Childhood study of what is wrong with individuals. Recent Center. At times, we will draw on student 128 Psychology observations to support or critique theoretical caregivers—as well as paid caregivers and care concepts as part of the seminar. The fieldwork will receivers living with a variety of chronic also provide the basis for developing conference illnesses—will be our focus. Utilizing ethnographic work. Ideally, conference projects combine the research methods, we will explore care and interests of the student, some library reading, and caregiving from a variety of perspectives. This some aspect of fieldwork observation. Among the course will take an interdisciplinary approach and many diverse projects students have designed in the introduce students to the various literature on family past are topics such as children’s friendships, the caregiving. From psychology to public health, we will meanings of block building, and how young children consider care as a reciprocal process that ebbs and use language. flows throughout the life course. We will read from feminist theory, critical disabilities studies, Emerging Adulthood psychology, and public health and will look at how care is portrayed in popular culture, film, and books. Linwood J. Lewis We will learn about individual and policy responses Open, Seminar—Fall geared toward supporting family caregivers, as well We have time, energy, questions, and few as organizations that are dedicated to creating responsibilities. We want to push the envelope, resist better conditions of care for all of us. compromise, lead revolutions, and turn the world upside down. Because we do not yet know quite how to be, we have not settled and will not let the dust Food Environments, Health, and settle around us. —Karlin & Borofsky, 2003 Social Justice Magdalena Ornstein-Sloan Many traditional psychological theories of Open, Seminar—Spring development posit a brief transition from With obesity and diabetes rising at alarming rates adolescence to adulthood. However, many people and growing awareness of disparities in food access, moving into their 20s experience anything but a brief researchers and policymakers are rethinking the role transition to “feeling like an adult,” pondering of the environment in shaping our diets and health. questions such as: How many SLC alums can live in a This course takes a collaborative approach to Brooklyn sublet? What will I do when I finish the investigating some of the key issues guiding this Peace Corps next year? In this course, we will explore area of research and action. Students will critically the psychological literature concerning emerging review literature on food environments, food access, adulthood, the period from the late teens through and health inequalities and explore how modes of the 20s. We will examine this period of life from a food production and distribution shape patterns of unified biopsychosocial and intersectional food availability and health in cities. Students may perspective. use photography and/or video to examine foods available in the neighborhoods where they live, Family Caregiving Across the Life review media related to the course themes, and use Cycle a time/space food diary to reflect on the ways in which their own eating habits are influenced by the Magdalena Ornstein-Sloan social and material settings of their day-to-day lives. Open, Seminar—Fall The course concludes with students writing letters There are only four kinds of people in the world: those to the editor/op-eds to a news outlet of their choice who have been caregivers, those who are currently with suggestions about how to move forward with caregivers, those who will be caregivers, and those action to improve food access, public health, and who will need caregivers. —Rosalynn Carter social justice in the places where they live. Care and caregiving are aspects of daily life that each of us depends upon at various times The Historical Evolution of throughout our lives. Yet care remains hidden and Psychological Thought devalued in our current sociopolitical climate in which women continue to provide a majority of care. Gina Philogene In this course, we will look at care as both an Intermediate, Seminar—Year orientation and an activity provided by family and This seminar aims at presenting the historical friends to people with disabilities and older adults. evolution of psychology as a distinct discipline, An Ethic of Care will provide a lens through which to starting with Wundt in 1879 at Leipzig. Its short explore the experiences of family caregivers. history notwithstanding, psychology has benefited Specifically, caregiving youth, young adult, and male from a long and rich past—tracing its roots, for the THE CURRICULUM 129 most part, in philosophy. As early as the fifth entc ury as the Third World and among the pockets of poor B.C., Aristotle and other Greek scholars grappled with people living on the fringes of the large industrialized some of the same problems that concern cities… —Santiago Barquín psychologists today; namely, memory, learning, motivation, perception, dreams, and abnormal What is poverty? Does it have a face? Is it confined behavior. A discipline such as psychology does not to a particular space? What does it mean to be poor? develop in a vacuum but, rather, is shaped by human This seminar challenges students to confront their personalities, institutions, and the societal context. individual conceptualizations of poverty through a Therefore, our critical and historical analyses will cross-disciplinary study into its dynamics. Readings focus on comprehending the cultural context from will survey the way poverty has been defined yb which ideas, concepts, and theories have emerged economists, psychologists, philosophers, and and evolved. This approach will provide a unifying neuroscientists. Students will gain an understanding framework for a thorough reexamination of the of how these definitions bear on the methodological different systems of psychology in the United States. approaches used to study both the prevalence of poverty and the severity of its effects. Students are expected to discuss the merits and demerits of each Social Development perspective and the practical consequences they Carl Barenboim engender. The course will move to situate poverty Intermediate, Seminar—Fall into context in order to examine how it is expressed Some of the most interesting and most important across different environments. How is urban poverty pieces of knowledge that a child will ever learn are similar to or different from rural poverty? Does not taught in school. So it is with the child’s social suburban poverty even exist? The course will trace world. Unlike “reading, writing, and ’rithmetic,” there the origin of stereotypes about poor people and how is no “Social Thinking 101.” Further, by the time they are perpetuated and supported by popular children reach school age, they have already spent discourse through readings from White Trash: The years learning the “lessons of life” and affecting 200-year Untold History of Class in America. Readings those around them. This course will explore the from $2.00 a Day: Living on Almost Nothing in social world of the child from birth through America will ask students to interrogate the adolescence, focusing on three main areas: parent/ factuality of myths about who is poor. Together, the child relations, sex-role development, and moral course will ponder the differential impact of poverty development. Within parenting, we will examine on racial and ethnic groups in America. Students will issues such as different parenting “styles,” the long- be asked to evaluate state-level welfare policies to term consequences of divorce, and the “hurrying” of observe the variation in state legislatures and the children to achieve major milestones at ever-earlier consequences for individuals and families. In ages. Within the topic of sex-role development, we thinking about the consequences of poverty, the will read about the role of powerful socialization course will also cover the way individuals are shaped forces, including the mass media, and the by poverty, charting its effects on the brain and the socialization pressures that children place upon body. Conference projects will give students the themselves and each other. Within moral opportunity to research poverty-related social issues development, we will study the growth of moral such as the poverty-obesity paradox and the income- emotions—such as empathy, shame, and guilt—and academic achievement gap. Throughout the course, the role of gender and culture in shaping our sense students are encouraged to be mindful of the way of right and wrong. Conference work may include poverty is operationalized and to consider what field placement at the Early Childhood Center or psychological perspectives have to offer by way of other venues, as interactions with real children will improving our understanding of how people are be encouraged. Prerequisite: prior course in affected by life in poverty. Previous coursework in psychology. psychology, sociology, or economics or instructor permission required. What’s in a Name? Perspectives on Poverty Rochelle Cassells Intermediate, Seminar—Fall Poverty, misery or want is a phantom with a thousand faces that vents its fury primarily among the majority of people who live in what is referred to 130 Psychology Intensive Semester in Yonkers: experiences. We will consider works by experts on Inequalities and Opportunities in trauma and language, including Judith Herman, Bessel van der Kolk, and James Pennebaker, as well Yonkers: Integrating Theory, as current research in the field of trauma and Research, Policy, and Practice trauma narratives. Through these readings, we will Kim Ferguson (Kim Johnson) address topics such as what makes an experience Intermediate, Seminar—Fall traumatic, how representations of trauma in popular This course is part of the Intensive Semester in culture color our perceptions of trauma and Yonkers program and is no longer open for interviews recovery, the role of resilience and growth following and registration. Interviews for the program take a trauma, and what we can learn from attending to place during the previous spring semester. the content and structure of language. This course This course provides an introduction to the will be of interest to students who are curious about methodologies of community-based and how the words that we use reflect our ognitivc e and participatory action research within the context of a emotional functioning—and especially for students community partnership course. All students work for interested in pursuing topics such as these at an 10-15 hours per week in a community-based advanced or graduate level. organization that addresses issues of inequality. Over the course of the semester, we discuss Thinking Evil: A Social participatory action and community-based research methods and practice; integrating theory, research, Psychological Exploration policy, and practice; public health and public policy; Gina Philogene nongovernmental organizations and private-public Intermediate, Seminar—Fall partnerships; understanding and addressing The attributional power of the concept of “evil,” in environmental inequalities for children and families; its various representations, has been quite dominant interactions with and impacts of media on children recently. It has manifested itself not just in public and families; media, identity, and globalization; discourse or theological mystification but also in the intersections of class, race, gender, immigration work of social scientists, politicians, philosophers, status, and nation of origin with inequalities; and and journalists. It may even be seen as part of how integrating artistry and performative practices in social media has evolved. Various atrocities and community-based work. Students also attend horrors over the past hundred years are proof of its monthly group conferences with other students omnipresence—the prominence of lynching in the working in their community-based organization and South of the United States, the Holocaust, different biweekly one-on-one conference meetings with genocides (Armenians, Leopold II in the Congo, associated reading and written work. America’s occupation of Haiti, Pol Pot in Cambodia, China’s Cultural Revolution, Rwanda), and, more recently, the terrorist attacks on 9/11 and in Paris. Of Speaking the Unspeakable: course, this notion of “evil” is well anchored in most Trauma, Emotion, Cognition, and of our religious imaginations. In this century, we Language have experienced continuous processes of Emma Forrester “glorification” of “evil” through the reemergence of Intermediate, Seminar—Fall religion, facilitating the propagation of various Psychological trauma has been described as hegemonic representations of “evil.” This seminar unspeakable—so cognitively disorganizing and seeks to explore the nature of “evil” in our moral, intense that it is difficulto t put the experience and political, and legal discussions. Is it an outdated the emotions it evokes into words. Yet, the language concept that we should no longer use? What are the that survivors use to describe their traumas provides conditions defining an action as “evil”? What do ew insight into the impact of trauma and the process of mean when we identify an individual as being “evil”? recovery. This course will begin with an overview of Is there a relation between the action and the theories of trauma, resilience, and post-traumatic individual committing these acts? These are growth, as well as an introduction to the study of questions we will seek to address. trauma narratives and how language reflects emotional and cognitive functioning. We will then explore the cognitive, emotional, and biological impact of undergoing a trauma and how those changes are reflected in the language that trauma survivors use as they speak and write about their THE CURRICULUM 131 Theories of Development separation are central course themes. Other course topics include acculturative stress, discrimination, Barbara Schecter family dynamics, identity, and trauma. These Intermediate, Seminar—Fall experiences will be connected to the developmental “There’s nothing so practical as a good theory,” outcomes of immigrant children. Course work suggested Kurt Lewin over a hundred years ago. requires students to consider the experiences of Since then, the competing theoretical models of immigrant children and how best our schools, Freud, Skinner, Piaget, Vygotsky, and others have communities, and broader society can meet their shaped the field of developmental psychology and needs. During the semester, students are asked to have been used by parents and educators to engage with the bioecological model of development determine child-care practice and education. In this in order to structure their analysis of the many course, we will study the classic factors affecting immigrant children. Students are theories—psychoanalytic, behaviorist, and encouraged to use their conference projects to hone cognitive-developmental—as they were originally in on one area of interest. Prerequisite: previous formulated and in light of subsequent critiques and course work in psychology, politics, or public policy or revisions. Questions we will consider include: Are permission of the instructor isrequired. there patterns in our emotional, thinking, or social lives that can be seen as universal, or are these always culture-specific? Can life experiences be Children’s Literature: conceptualized in a series of stages? How else can Developmental and Literary we understand change over time? We will use Perspectives theoretical perspectives as lenses through which to view different aspects of experience—the origins of Charlotte L. Doyle wishes and desires, early parent-child attachments, Intermediate, Seminar—Spring intersubjectivity in the emergence of self, symbolic Children’s books are an important bridge between and imaginative thinking, and the role of play in adults and the world of children. In this course, we learning. For conference work, students will be will ask questions such as: What are the purposes of encouraged to do fieldwork at the Early Childhood literature for children? What makes a children’s Center or in another setting with children, as one book developmentally appropriate for a child of a goal of the course is to bridge theory and practice. particular age? What is important to children as they For graduate students and seniors with permission of read or listen? How do children become readers? the instructor. How can children’s books portray the uniqueness of a particular culture or subculture, allowing those within to see their experience reflected in books and The Experiences of Immigrant those outside to gain insight into the lives of others? Children To what extent can books transcend the Rochelle Cassells particularities of a given period and place? Course Intermediate, Seminar—Spring readings include writings about child development, In the years to come, the United States is expected to works about children’s literature, and, most see unprecedented growth in the foreign-born centrally, children’s books themselves—picture population. As our population becomes more diverse, books, fairy tales, and novels for children. Class we have an essential need to understand the emphasis will be on books for children up to the age experiences of immigrant individuals. In this of about 12. Among our children’s book authors will seminar, students will explore the influence of be Margaret Wise Brown, C. S. Lewis, Katherine immigration policies on recent trends in immigration Paterson, Maurice Sendak, Mildred Taylor, E. B. White, and the consequences of those policies on families. and Vera B. Williams. Many different kinds of Special attention is paid to the intersection of conference projects are appropriate for this course. gender, poverty, and race in shaping patterns of In past years, for example, students have worked migration. Although theories of immigration span with children (and their books) in fieldwork and across many social-science disciplines, the service-learning settings, written original work for bioecological-systems approach will be used as a children (sometimes illustrating it, as well), traced a framework for contextualizing these theories and for theme in children’s books, explored children’s books applying a child-centric view to the migratory that illuminate particular racial or ethnic process. This seminar will take turns considering the experiences, or examined books that capture the unique experiences of Asian, Latinx, and Black challenge of various disabilities. immigrant children before, during, and after migration.Issues of legal status and maternal 132 Psychology Research Seminar: 21st-Century find creative solutions in dreams? Does meditation Sleep lead to more lucid dreams? How does room temperature impact sleep quality? How does Meghan Jablonski working night shifts impact mood and cognitive Intermediate, Seminar—Spring functioning? How do socioeconomic barriers to Technological advancements in the last century adequate sleep and homelessness impact academic helped build an understanding of the performance and well-being in school-age children? neurophysiological and neuropsychological In this intermediate-level course, we will attempt to processes of sleep; technological advancements in better understand questions such as these and the current century have made understanding and others related to the broad topic of sleep. Through monitoring one’s own sleep widely accessible using examining established research/theory and pursuing digital devices and apps. Having been long new lines of research, students will consider the marginalized or seen as a weakness, indulgent impact of sleep quality on physical and emotional luxury, or barrier to productivity, the value of sleep well-being, productivity, academic/work as a physiological a psychological asset is gaining performance, cognitive and social functioning; the prominence. Consideration of sleep as central to impact of physical illness and/or mental illness on well-being, cognitive function, creativity, and sleep quality; the role of sleep and dreaming in productivity is entering the mainstream discourse; memory, learning, and other functions; and advocacy for sleep as a human right is gaining developmental sleep needs and patterns; gender voice. Nap chairs are popping up in workplaces, the differences in sleep needs and sleep quality; the discovery of body clocks was awarded a Nobel Prize, impact of sleep environment on sleep quality; sleep and sleep deprivation has become a noted public- in the digital age; and the impact of psychosocial health concern. In a time where we are surrounded factors/economic disparity on sleep quality. Over the by digital screens, electric light, all-day coffee course of the semester, students will design an culture, and demanding expectations on time—and independent research project related to one of those access to quality sleep is impacted by socioeconomic topics or another topic relevant to sleep. Students disparity—a culture is emerging in which sleep is will learn how to conduct an academic literature regarded as a valued asset, not merely time spent review, formulate the rationale for a research “off” from waking life. What is the research project, develop an effective research methodology, supporting this emerging sleep narrative? What are collect data, analyze data, interpret the results, and the social, emotional, cognitive, and communicate the findings in an APA-style paper. This neuropsychological benefits of sleep? What is the course serves as an introduction to research impact of impaired sleep? What are the barriers to methods, with a specific ocusf on sleep-related sleep and sleep access? What is an optimal sleep phenomena through your own research. Topics will environment? And what new questions do we pose? include experimental research design, case studies, Is there a relationship among sleep quality, anxiety, observational techniques, survey development, and and attention challenges? Is there a relationship hypothesis testing. In addition to individual A/B- between sleepwalking and stress? How do attitudes week conference meetings, students will discuss toward sleep impact the experience of people with conference research projects in class throughout the chronic fatigue? Do children who get regular and semester, providing and obtaining feedback to/from adequate sleep demonstrate greater social peers on formulating research questions, methods, competence? How does attachment security impact data analysis, and interpretation of results. Projects sleep quality? What is the relationship between could include fieldwork at the Early Childhood Center gender and sleep needs? How does sleeping in or another setting relevant to the project. alignment with seasonal light/dark patterns impact mood? How does access to digital devices impact sleep quality? Is adequate sleep stigmatized in a Children’s Health in a 24-hour culture? How do attitudes toward caffeine Multicultural Context use differ from attitudes toward nootropics (“smart Linwood J. Lewis drugs” intended to reduce the need for sleep)? How Intermediate, Seminar—Spring does sleep quality impact productivity? Do high- This course offers, within a cultural context, an school classes start too early for teenagers? Will overview of theoretical and research issues in the napping after studying improve memory? How does psychological study of health and illness in children. sleep quality impact athletic performance? Does We will examine theoretical perspectives in the sleep quality impact how dance students learn new psychology of health, health cognition, illness choreography? Do artists, musicians, and writers prevention, stress, and coping with illness and THE CURRICULUM 133 highlight research, methods, and applied issues. This genetic diversity, with the focus on different ways in class is appropriate for those interested in a variety which brains might develop. To other authors, the of health careers. Conference work may range from term describes a social/political stance in viewing empirical research to bibliographic research in this difference. This is the concept of neurodiversity that area. Community partnership/service learning work will be explored in the course, as it relates to current is an option in this class. A background in social and developing ways of understanding difference sciences or education is recommended. related to several ways of presenting traditionally- termed “disorders” within mental-health treatment. Language Development Definitions of the ermt “neurodiversity” vary, with one conference defining it as: A“ concept where Barbara Schecter neurological differences are to be recognized and Intermediate, Seminar—Spring respected as any other human variation. (National Learning language is a fundamental aspect of the Symposium on Neurodiversity, 2011). From this point human experience that is reproduced from of view, such differences are not necessarily generation to generation all over the world. Yet how pathology but, rather, differences to be celebrated similar are the processes of language development and respected. This is in stark contrast to deficit among people of different places and backgrounds? models of taxonomy of mental illness, such as This course will explore the nature of language and catalogued in the DSM 5. The course will provide an its relation to thinking, meaning-making, and overview of this form of disorder description in order culture. We will begin with a look at the phenomena to frame those points of view, which contain of first language acquisition—naming, categorizing, distinctly different and sometimes opposed conversation, private speech, storytelling, assumptions. We will explore ways in which those metaphor—and how they constitute and express views have influence regarding the spirit of children’s experiences in their worlds. We will then intervention (i.e., correction versus consider topics such as language and gender, early accommodation). Readings will explore important literacy, second-language learning in the contexts of related continuums of essentialist versus bilingualism, transitions from home to school, and contextualist understandings of those presentations immigration. Readings will be drawn from that help us understand how focus of interventions psychological studies and observational and vary based on underlying assumptions. The course ethnographic accounts. Students will be encouraged begins with a focus on those points of view to do fieldwork in settings, including our Early regarding autism, as that is the area where the Childhood Center, where they can observe and record neurodiversity movement first gained the powerful language to investigate and document the processes momentum of self-advocacy and framed the larger we will be studying or as the basis for conference debate regarding challenges to the deficit model. projects. A previous course in psychology or a social Since that initial momentum, the neurodiversity science is expected. concept has also been applied to other areas of difference: dyslexia, ADHD, bipolar disorder, and Neurodiversity and Clinical others. The course also incorporates an older Psychology literature regarding the sometimes assumed link between mental illness and creativity, which is David Sivesind complex, as well as literature focused on potential Intermediate, Seminar—Spring overlooked strengths and abilities that may exist Neurodiversity may be every bit as crucial for the within those populations. We will consider work in human race as biodiversity is for life in general. Who this domain such as Kay Jamison, Oliver Sacks, Naoki can say what form of wiring will prove best at any Higashida, and others. Most of all, the course aims to given moment? —Harvey Blume, The Atlantic, 1998 increase student understanding regarding potential Defects, disorders, diseases can play a paradoxical heightened abilities, as well as challenges, in role by bringing out latent powers, developments, neurodiverse populations. evolutions, forms of life that might never be seen, or even be imaginable, in their absence. —Oliver Sacks Advanced Research Seminar Kim Ferguson (Kim Johnson) , Elizabeth Johnston, This seminar focuses on the concept of Linwood J. Lewis neurodiversity and the potential impact of this Intermediate/Advanced, 3-credit seminar—Year concept in understanding certain clinical concerns. In this research seminar, students will gain valuable To some authors, the concept of neurodiversity is of research experience through a weekly seminar simple relation to the concepts of biodiversity or 134 Psychology meeting focused on research methods, research Puzzling Over People: Social ethics, and contemporary research questions and Reasoning in Childhood and approaches; a weekly lab meeting with one of the faculty members leading the research seminar; and Adolescence individual and group conference meetings with Carl Barenboim faculty supervisors on a regular, as-needed basis. Intermediate/Advanced, Seminar—Spring The seminar component will include readings on, We humans tend to find other people ot be the most and discussions of, research methods and ethics, interesting “objects” in our lives—and for good both broad and specific ot the research in which reason. As infants, we are completely dependent students are involved, as well as the discussion of upon others for our very survival; and throughout our contemporary research articles that are relevant to lives, other people serve as the social bedrock of our student and faculty research projects. All faculty and existence. We are a social species, one that derives students involved in the research experience will “fitness” through our abilities to read the social take turns leading the discussion of current terrain and figure out social meaning in our research, with faculty taking the lead at the interactions with others. There are a range of timely beginning of the semester and students taking the questions to address: How do we do this, and how lead as their expertise develops. Weekly lab does it develop throughout childhood? Are we meetings will also involve reading and discussing “hardwired” in some ways to feel what other people research articles and research methods papers are feeling? What about the special case of specific ot the topics of research being undertaken childhood autism? How do our emotions interact by each student and faculty member. Students will with our cognitions about the social world to affect be expected to learn the current research our views of self and others and our future social approaches being employed by their supervising lives? What would cause us to have a relatively good faculty member, contribute toward ongoing research or poor “emotional IQ,” and what are the in the form of a research practicum, and develop and consequences? What are the roles of family and implement their own independent research projects childhood friends in this process? These are some of within the labs in which they are working. Faculty the issues that we will address in this course. The supervising each lab will also be available to meet opportunity will be available for hands-on fieldwork with students individually and in small groups on an with children in order to observe children puzzling ongoing basis, as needed and at least every other over people in real life. Prerequisite: prior course in week, in addition to the regular weekly, hour-long lab psychology. meeting. Students participating in the Psychology Advanced Research Seminar will be expected to Challenges to Development: Child attend and actively participate in weekly full group and Adolescent Psychopathology seminars, weekly lab meetings, and regular (typically, at least biweekly) individual and group Jan Drucker conference meetings; keep an ongoing journal and/ Intermediate/Advanced, Seminar—Spring or scientific lab notebook; select and facilitate group We live in a society that often seems preoccupied and lab discussions of relevant contemporary with labeling people and their characteristics as research articles (at least once for each meeting “normal” or “abnormal.” This course covers some of type); work at least 5 hours within a lab and/or the material usually found in “Abnormal Psychology” community setting, as appropriate for their projects; courses by addressing the multiple factors that play contribute toward ongoing research and practice a role in shaping a child’s development, particularly within their lab or community settings; develop, as those factors may result in what we think of as implement, and report on (in the form of a short psychopathology. Starting with a consideration of paper prepared for possible publication and a poster what the terms “normality” and “pathology” may at the Natural Sciences and Mathematics Poster refer to in our culture, we will read about and Session) an independent research project; and discuss a variety of situations that illustrate provide their colleagues with ongoing verbal and different interactions of inborn, environmental, and written feedback on their projects. Permission of the experiential influences on developing lives. For instructor is required. example, we will read theory and case material addressing congenital conditions such as deafness and life events such as acute trauma and abuse, as well as the range of less clear-cut circumstances and complex interactions of variables that have an impact on growth and adaptation in childhood and THE CURRICULUM 135 adolescence. We will try, however, to bring both Other courses of interest are listed below. Full critical lenses and a range of individual perspectives descriptions of the courses may be found under the to bear on our discussion of readings drawn from appropriate disciplines. clinical and developmental psychology, memoir, and research studies. In this process, we will examine a Specters of the Subject: Hauntologies of Ghosts, number of the current conversations and Phantasms, and Imaginings in Contemporary controversies about assessment, diagnostic/ Life (p. 7), Robert R. Desjarlais Anthropology labeling, early intervention, use of psychoactive Understanding Experience: Phenomenological medications, and treatment modalities. Students will Approaches in Anthropology (p. 5), Robert R. be required to engage in fieldwork at the Early Desjarlais Anthropology Childhood Center or elsewhere and may choose Neurons and the Nervous System (p. 21), Cecilia P. whether to focus conference projects on aspects of Toro Biology that experience. Sensory Biology (p. 20), Cecilia P. Toro Biology Bio-Inspired Artificial Intelligence (p. 29), James Marshall Computer Science Personality Development First-Year Studies: Achilles, the Tortoise, and the Jan Drucker Mystery of the Undecidable (p. 27), James Advanced, Small seminar—Fall Marshall Computer Science A century ago, Sigmund Freud postulated a complex 17th-Century British Literature (p. 88), William theory of the development of the person. While some Shullenberger Literature aspects of his theory have come into question, many The Bible and Literature (p. 87), William of the basic principles of psychoanalytic theory have Shullenberger Literature become part of our common culture and worldview. An Introduction to Statistical Methods and This course will explore developmental concepts Analysis (p. 95), Daniel King Mathematics about how personality comes to be through reading Game Theory: The Study of Conflict and and discussion of the work of key contributors to Strategy (p. 96), Daniel King Mathematics psychoanalytic developmental theory since Freud. Philosophy of Music (p. 100), Martin Goldray Music We will trace the evolution of what Pine has called Philosophy as Therapy (p. 112), Abraham Anderson the “four psychologies of psychoanalysis”—drive, Philosophy ego, object, and self-psychologies—as well as the Buddhist Meditation in East Asia (p. 140), T. Griffith more recent integrative “relational perspective.” This Foulk Religion is a different approach from the social personality Buddhist Meditation in India, Southeast Asia, and work done on trait psychology, and we will consider Tibet (p. 138), T. Griffith Foulk Religion its value for developmental understanding of the First-Year Studies: Theatre Outreach: Theatre and person. We will also consider the issues that this Community (p. 151), Allen Lang Theatre approach raises about children’s development into Lost and Found: Collage and the Recycled individuals with unique personalities within broad, Image (p. 171), Gary Burnley Visual and Studio shared developmental patterns in a given culture. Arts Readings will include the work of Anna Freud, Erik Poetry: The Creative Process (p. 182), Kate Knapp Erikson, Margaret Mahler, Daniel Stern, Steven Johnson Writing Mitchell, Nancy Chodorow, and George Vaillant. Our World, Other Worlds (p. 174), Myra Goldberg Throughout the semester, we will return to Writing fundamental themes such as the complex interaction of nature and nurture, the unanswered questions about the development of personal style, and the cultural dimensions of personality PUBLIC POLICY development. An interest in theory and its Sarah Lawrence College’s Public Policy program applications is important, as is some background in addresses the most pressing public policy issues of psychology. Fieldwork at the Early Childhood Center our time, including promoting peace, protecting the or another appropriate setting is required, although environment, providing education and health conference projects may or may not center on services, and safeguarding human and workers’ aspects of that experience, depending on the rights. Supported by the College’s Office of individual student’s interest. Community Partnerships, students partner with unions, community organizations, and legal groups 136 Public Policy in the New York City area as a required element of practical lenses. We will consider questions of their coursework, gaining direct experience that membership and belonging and of political they can relate to theoretical issues. engagement. How are communities defined? How is Students also participate in international political voice exercised? And how do power fieldwork, including at a labor research exchange in dynamics shape who belongs and whose voices are Cuba, a health-care worker conference in the heard? Current policy debates will serve as a Dominican Republic, a community-organizing project backdrop for the course, which will allow us to to help establish a medical clinic for residents of the explore the relationship between national- and local- impoverished community of Lebrón in the Dominican level policy contests. Through conference work, Republic, and a study trip to the United States/ students will trace the pathways for effecting Mexico border area of El Paso/Juarez. This change in a series of contemporary policy debates at combination of study and direct experience exposes different levels of government and students to various approaches to problems and geographies—including debates over marijuana, builds an enduring commitment to activism in many DACA, and guns. New York will be our extended forms. classroom, positioning students to connect theory and the academic classroom to practice and the real Immigration, Race, and the world. Making of the United States: An Immigration Policy Perspective Other courses of interest are listed below. Full descriptions of the courses may be found under the Luisa Laura Heredia appropriate disciplines. Open, Seminar—Year Immigration has been a recurring and polarizing Understanding Experience: Phenomenological political issue in the United States and globally. While Approaches in Anthropology (p. 5), Robert R. undocumented youth have forced their plight into Desjarlais Anthropology the national debate, in an earlier moment “Positively Faking Families: How We Make Kinship (p. 5), Mary A. No Filipinos” and “Irish Need Not Apply” signs were Porter Anthropology commonplace in places of business. And yet, in the Political Economy of Women (p. 38), Kim Christensen contemporary political climate, immigration policy is Economics debated as if it were ahistorical and fixed. In this Legal Analysis of Business History: Corporate yearlong course, students will explore immigration, Governance, Democracy, and Economic immigrant integration, and societal inequality. We Transformation (p. 40), Jamee K. Moudud will answer questions such as: How has immigration Economics policy changed over time? And how are immigrants Econometric Analysis: Structural Explorations in the integrating into society? We will delve into Social Sciences (p. 38), Jamee K. Moudud theoretical debates over why people migrate, the Economics role of states in managing migration flows, the Microeconomic Theory and Policy: Advanced “actors” who have shaped immigration policy, and Topics (p. 40), Jamee K. Moudud Economics how today’s immigrants compare with earlier waves Resource Economics and Political Ecology (p. 39), of immigrants. More specifically, this course will John Casey Nicolarsen Economics trace the history of immigration policy and of Secondary Currents: Experimental Film in immigration flows into the United States, as well as Place (p. 51), Robin Starbuck Filmmaking and the distinct trajectories of groups and cohorts along Moving Image Arts a series of societal indicators. Students will Food, Agriculture, Environment, and contribute to ongoing debates by reflecting on where Development (p. 61), Joshua Muldavin we are and what we can we do to create a better Geography system and a more equitable society. Introduction to Development Studies: The Political Ecology of Development (p. 62), Joshua Marijuana, DACA, and Guns: A Muldavin Geography Primer on Voice and Power in The Price of Citizenship: A History of Poverty and Public Policy in the United States (p. 68), Crafting Policy Change Komozi Woodard History Luisa Laura Heredia Human Rights (p. 68), Mark R. Shulman History Intermediate, Seminar—Spring International Law (p. 68), Mark R. Shulman History In this course, we will examine political power at Drugs, History, and Politics in Latin America and different levels through both theoretical and Beyond (p. 74), Margarita Fajardo History THE CURRICULUM 137

Diversity and Equity in Education: Issues of Gender, religious groups today. The College’s religion courses Race, and Class (p. 76), Nadeen M. Thomas provide an important complement to courses in History Asian studies and history. An Introduction to Statistical Methods and Analysis (p. 95), Daniel King Mathematics First-Year Studies: Judaism, From Community and Civility (p. 121), Samuel Abrams Religion to Radicalism Politics Glenn Dynner First-Year Studies: Democracy, Diversity, and Open, FYS—Year (In)Equality (p. 117), David Peritz Politics Judaism, since the biblical age, has defied easy First-Year Studies: Imperialism, Resistance, categorization—oscillating between religion and Development, Intervention: African States in ethnicity, law and spirituality, tradition and rupture. the International System (p. 118), Elke Zuern This dynamism is further complicated by the very Politics nature of the diasporic experience, which has Advanced Research Seminar (p. 133), Kim Ferguson involved both resisting and appropriating aspects of (Kim Johnson) , Elizabeth Johnston , Linwood J. the dominant culture (e.g., gender, magic, Lewis Psychology mysticism, and martyrdom). This course provides an Intensive Semester in Yonkers: Inequalities and introduction to Jewish spirituality and culture by Opportunities in Yonkers: Integrating Theory, looking at the interplay between its texts and Research, Policy, and Practice (p. 130), Kim contexts. We begin with formative works like the Ferguson (Kim Johnson) Psychology Bible, the Talmud, classics of Jewish philosophy, and The Experiences of Immigrant Children (p. 131), Kabbalah. We then engage with texts produced by Rochelle Cassells Psychology modern movements that challenged, displaced, or What’s in a Name? Perspectives on Poverty (p. 129), reinforced normative Jewish practice, such as Rochelle Cassells Psychology messianism, Hasidism, nationalism (e.g., Zionism), Informality and Precariousness in the City: Family, Freudian psychoanalysis, and revolutionary Marxism. Home, and the Politics of Transnational The desired outcome is an awareness of how the Life (p. 146), Parthiban Muniandy Sociology Jews’ outsider status has helped produce bold, First-Year Studies: (Re)Constructing the Social: varied conceptions of the world that, in turn, Subject, Field, Text (p. 145), Shahnaz Rouse challenge our own. Sociology Health Policy/Health Activism (p. 147), Sarah Wilcox Sociology The Jews of Europe What’s the Story? A Radio Journalism Class (p. 178), Glenn Dynner Sally Herships Writing Open, Lecture—Fall Wrongfully Accused (p. 178), Marek Fuchs Writing This course conceives European Jewry as forming a dynamic counterpoint to dominant non-Jewish European societies down to today. First, we examine RELIGION the Talmud-centered, insular “Ashkenazic” Jewish communities of medieval France and Germany. Then Religious traditions identify themselves with, and we proceed to the more worldly “Sephardic” Jews in draw sustenance from, the texts that they hold Muslim and Christian Spain, encountering poets, sacred. In Sarah Lawrence College religion courses, philosophers, Kabbalists, and secret Judaizing those texts command and hold our attention. As “Conversos.” We follow the exiles of Spain as they students explore the sacred text of a particular return to open Jewish practice and examine the religion—whether studying Buddhism, early widespread embrace of a messianic pretender Christianity, or the origins of Islam—they gain named Shabbetai Tzvi. We then turn to the insight into the social and historical context of its blossoming Jewish life in Eastern Europe, with its creation. Using critical, hermeneutical, and extensive self-government, economic niches, world- intellectual historical approaches, students enter renowned yeshivas, and popular mysticism into the writings in such depth as to touch what (Hasidism). In the last part of the course, we might be the foundation of that religion. In addition, examine the dissolution of the “ghetto” throughout work with contemporary texts (such as those by Europe, the rise of religious innovations like Reform religious activists on the Internet) gives students Judaism and Orthodoxy, the simultaneous rise of insight into what most moves and motivates racial anti-Semitism, and Jewish political responses like Zionism, Socialism, and radicalism down to the destruction of European Jewry in the Holocaust. 138 Religion Throughout, we attempt to balance negative fundamental outlook, Buddhists regard regulation of flashpoints like Crusades, blood libels, the one’s own mind as the key to both individual Inquisition, pogroms, and genocide with European happiness and social harmony and justice. They say Jewry’s major economic, intellectual, and spiritual that among the three kinds of karma, “mind” is innovations. primary—but that it is also the mode of action that is sublest and hardest to control. Throughout its long Readings in the Hebrew Bible: and diverse history, the Buddhist tradition has developed a wide variety of techniques for Genesis and Exodus controlling and developing one’s own mind, many of Cameron C. Afzal which have been referred to in English using the Open, Seminar—Fall word “meditation.” This course focuses on major The Book of Genesis in the Hebrew Bible has types of meditation practiced in the Buddhism of remained at the mythological foundation of Western India, Southeast Asia, and Tibet. Those include: culture. Genesis has informed Jewish, Christian, and techniques for calming the mind and entering into Muslim theology. If that weren’t enough, the book deep trance states; procedures for gaining insight contains a great and memorable cycle of stories into what is ultimately real; the cultivation of from Adam and Eve and Noah and the Flood to the “mindfulness” of one’s own physical and mental stories of Abraham, Isaac, and Jacob, just to name a actions, which has now been borrowed by Western few. These stories permeate our literature, our art, psychotherapy; mental exercises designed to indeed our sense of identity. The narrative itself is suppress negative emotions (e.g., anger) and foster the beginning of a greater epic of liberation, positive ones (e.g., loving kindness); the including Exodus and the rest of “the five books of “contemplation of impurity,” which involves Moses.” What are these books? How were they meditating on decomposing corpses; procedures for written? Who wrote them, and for whom? Who recalling and repenting bad deeds done in the past; preserved them? How do we read them so that their and a wide range of Tantric visualization practices ancient perspective, their social and historical designed to put one in direct touch with powerful context, is not lost? In order to recover this ancient sacred beings and forces. This is a self-contained, context, we will also read contemporary writings semester-long course taught in the fall that is also such as The Babylonian Creation Story, as well as The designed to complement a companion course that is Epic of Gilgamesh. taught in the spring: Buddhist Meditation in East Asia. Students may take just one or the other of the Buddhist Meditation in India, two courses without any problem, but those who Southeast Asia, and Tibet take both will get the kind of sustained, integrated, in-depth exposure to all aspects of Buddhist T. Griffith Foulk meditation that is characteristic of a yearlong Open, Seminar—Fall seminar at Sarah Lawrence College. Buddhists believe that there are three modes of karma, or “action”: 1) bodily, 2) verbal, and 3) mental. That is to say, we can “do” things with our Japanese Religion and Culture bodies, with our speech, and with our minds. All T. Griffith Foulk three modes of karma have moral value in the sense Open, Seminar—Fall that whatever actions we perform are either good, A historical survey of religious beliefs, practices, and bad, or neutral—and all actions of body, speech, and institutions in Japan from ancient times down to the mind have consequences that are inevitably present, this course covers all of the major religious experienced sometime in the future. The results of traditions and movements—Shintō, Buddhism, physical and verbal actions may be more Shūgendō, Confucianism, and the so-called New immediately obvious than those of mental actions Religions—as well as various elements of religion (thoughts and emotions), but Buddhists regard the and culture (e.g., Noh theatre, Bushidō) that are not latter as even more consequential; for they are the readily subsumed under any of the preceding labels. underlying ideas and intentions that motivate and Readings include many primary sources (Japanese inform speech and physical action. Moreover, texts in English translation), and audio-visual Buddhists hold that deluded thinking concerning the materials are used whenever possible to give a fuller “self” and external “things,” because it gives rise to picture of traditional religious art, architecture, and unwise attachment, is the root cause of all suffering ritual performance in Japan. This is a self-contained, experienced by humans and other living beings in semester-long course taught in the fall that is also the round of rebirth (samsāra). Given this designed to complement a companion course that is THE CURRICULUM 139 taught in the spring: Religion in Contemporary Japan. million migrants and refugees streamed into Europe Students may take just one or the other of the two in 2015 alone, many of them fleeing the horrific courses without any problem; but those who take violence of Syria and other conflict-ridden areas. both will get the kind of sustained, integrated, in- That year, they entered a continent that was reeling depth exposure to all aspects of the religions and from a decade of terrorist attacks within its own culture of Japan that is characteristic of a yearlong borders. In January 2015, two French citizens of seminar at Sarah Lawrence College. Prior study or Algerian descent stormed the offices of the satirical experience of things Japanese (language, literature, magazine Charlie Hebdo and murdered 12 writers, history, etc.) is desirable but not required. cartoonists, and other staff members. The oc ver of the magazine that day was a caricature of Michel Sufi Sciences of the Soul Houellebecq, whose novel Soumission (Submission) had just been released. Houellebecq’s bleak fictive Kristin Zahra Sands account of a not-so-distant future in which a newly Open, Seminar—Fall elected Muslim head of state begins initiatives to Muslim mystics have left us with a vast body of supplant European values and institutions with literature that explains the faculties and capabilities authoritarianism and polygamy was an instant best- of human beings. These theoretical writings go hand seller. The novel joined a slew of popular nonfiction in hand with the experiential dimension of Sufi works that have presented stern warnings of a practice, which includes the careful and diligent Europe on its deathbed if non-Muslim Europeans do cultivation of spiritual, mental, emotional, and not wake up and address the failures of their physical disciplines. The purpose of their path, as policies of minority assimilation or multiculturalism. they often label their thought and practice, goes But is the growing Muslim population in Europe the beyond that of religious salvation—at least as enormous threat to modern European values and understood in the usual sense. Their goal might be security that these writings make it out to be? What best described as a desire to attain intimate responsibilities, if any, do European nations have to knowledge of the true nature of reality, as in the migrants and asylum seekers who frequently come saying of the Prophet Muhammad: “Our Lord, show from nations that were former European colonies? us things as they really are.” Following another To what degree must Muslim citizens in European saying of the Prophet, “He who knows himself, states assimilate to the cultural mores of other knows his Lord,” Sufis have insisted that this deeper Europeans? In the books mentioned above, the knowledge can be accomplished only by a greater voices of Muslims are almost entirely absent. In this understanding of oneself. This necessarily involves course, we will seek out a broad array of voices and the deconstruction of any solid or static notions historical perspectives to examine the challenges about what is perceived to be the self. According to that have emerged in the increasingly diverse Sufis, what ew think of as ourselves is really a European societies of the 21st century. cacophony of forces from within and without that flow through and interact with different faculties within us. The spiritual disciplines in which Sufis American Religious Mythmaking: immerse themselves are intended to destabilize the The Stories We Tell Ourselves false self by enabling the practitioner to become Irene Elizabeth Stroud more conscious of these forces and faculties. Open, Seminar—Fall Furthermore, according to Sufis, there is a strong History, like the Jewish and Christian Scriptures, is relationship between our level of awareness, our the telling of a story that reveals something about attitudes and behaviors, and the way in which we who we are, how we came to be here, and what our perceive reality. Changes within us change the purpose is. In this course, rather than looking at past reality that seems to be outside of us. Through a events in chronological order, we will explore some series of readings from Sufi figures in the past and of the stories that Americans have told themselves present, this course will explore their systematic over the centuries to make sense of their exposition of the “sciences of the soul.” peoplehood and their place in the world. By exploring iconic events, institutions, texts, and artifacts from Muslims in Europe the Great Awakening to the Black Church to Fiddler on the Roof, we will see how religious narratives Kristin Zahra Sands have informed interpretations of the American past, Open, Seminar—Fall layering ancient stories of conquest, redemption, More than five percent of the total population of and rebirth onto memories of the 17th, 18th, 19th, Europe is now Muslim, and this percentage could and 20th centuries. While intentionally easily reach 10 percent or more by 2050. More than a 140 Religion foregrounding Protestant religious narratives Meditation in India, Southeast Asia, and Tibet. because of their dominance in American culture, this Students may take just one or the other of the two course will also attend to indigenous, Catholic, courses without any problem; those who take both Jewish, Muslim, Buddhist, and Mormon experiences will get the kind of sustained, integrated, in-depth and stories. exposure to all aspects of Buddhist meditation that is characteristic of a yearlong seminar at Sarah Buddhist Meditation in East Asia Lawrence College. T. Griffith Foulk Open, Seminar—Spring Religion in Contemporary Japan Buddhists believe that there are three modes of T. Griffith Foulk karma, or “action”: 1) bodily, 2) verbal, and 3) Open, Seminar—Spring mental. That is to say, we can “do” things with our An examination of religious beliefs, practices, and bodies, with our speech, and with our minds. All institutions in Japanese society today, this course three modes of karma have moral value in the sense covers all the major religious traditions and that whatever actions we perform are either good, movements in contemporary Japan: Shintō, the bad, or neutral; and all actions of body, speech, and various schools of Buddhism, Shūgendō, Christianity, mind have consequences that are inevitably and the so-called New Religions that have flourished experienced sometime in the future. The results of in the postwar period. Issues of historical physical and verbal actions may be more development are touched upon but only as an aid to immediately obvious than those of mental actions understanding the current religious scene. The (thoughts and emotions), but Buddhists regard the approach is thematic, with a focus on elements of latter as even more consequential—for they are the Japanese religiosity that recur in different traditions, underlying ideas and intentions that motivate and such as ancestor worship, beliefs in fate and karma, inform speech and physical action. Moreover, festivals, pilgrimages, the sanctification of natural Buddhists hold that deluded thinking concerning the phenomena, taboos against impurities, exorcisms, “self” and external “things,” because it gives rise to and rites of purification. Extensive use will be made unwise attachment, is the root cause of all suffering in class of a variety of audiovisual materials, experienced by humans and other living beings in including animated films, documentaries, and the round of rebirth (samsāra). Given this amateur videos of ritual performances. The aim of fundamental outlook, Buddhists regard regulation of the course is to provide insights into the intellectual, one’s own mind as the key to both individual ethical, aesthetic, and spiritual wellsprings of happiness and social harmony and justice. They say contemporary Japanese culture at large, not simply that among the three kinds of karma, “mind” is to familiarize students with the basics of Japanese primary; but it is also the mode of action that is religion narrowly conceived. This is a self-contained, sublest and hardest to control. Throughout its long semester-long course taught in the spring that is and diverse history, the Buddhist tradition has also designed to complement a companion course developed a wide variety of techniques for that is taught in the fall: Japanese Religion and controlling and developing one’s own mind, many of Culture (a historical survey). Students may take just which have been referred to in English using the one or the other of the two courses without any word “meditation.” This course focuses on major problem; but those who take both will get the kind of types of meditation practiced in the Buddhism of sustained, integrated, in-depth exposure to all East Asia: China, Korea, and Japan. Those include: aspects of the religions and culture of Japan that is techniques for calming the mind and entering into characteristic of a yearlong seminar at Sarah deep trance states; procedures for gaining insight Lawrence College. Prior study or experience of things into what is ultimately real; mental exercises for Japanese (language, literature, history, etc.) is recalling and repenting bad deeds done in the past; desirable but not required. the recollection of buddhas and bodhisattvas performed in conjunction with devotional prayer; a Modern Jewish Literature wide range of visualization practices designed to put one in direct touch with powerful sacred beings and Glenn Dynner forces; and the “investigation of words” attributed to Sophomore and above, Seminar—Spring Chan and Zen masters, also known as kōan practice. As Jews were emancipated in Europe, many began to This is a self-contained, semester-long course taught grapple with the challenges of modernity through in the spring that is also designed to complement a literary genres like poetry, autobiography, and companion course that is taught in the fall: Buddhist fiction. Writers like Franz Kafka, Isaac Babel, Primo Levi, S. Y. Agnon, Sholem Aleichem (whose works THE CURRICULUM 141 formed the basis of Fiddler on the Roof), Grace Paley, doctrines behind various political and militant and Cynthia Ozick achieved universal acclaim. But groups. The terms salafi, wahhabi, and jihadi have the path of the modern Jewish writer nearly always been used repeatedly in the media but generally entailed alienation, rebellion, nostalgia, and a need without the necessary context to understand the to grapple with increasingly virulent forms of anti- diversity of orientations and groups being described. Semitism—culminating in the Holocaust. In new In this course, we will study the geneaology of these centers in America and Israel, the Jews’ improved terms and movements, as well as the social and status yielded new kinds of alienation, witnessed political contexts that gave rise to them. There are especially in works by authors like Philip Roth, Amos quietist Salafis who va oid all engagement with Oz, and David Grossman. Despite the tension and politics and could be easily compared with occasional anguish that runs through modern Jewish conservative Christians or Jews. These individuals literature, we will discover works of beauty, are very different from the Salafi-Jihadis, who poignancy, and illumination. The Jewish writer's believe in the religious legitimacy of using violence “pariah” status seems to have offered a unique to achieve their goals. Although the main focus of perspective on the world and profound insights into this course will be on the theology and practices of the modern condition. Salafi and Jihadi groups, we will also examine the discourse on “Islamic radicalism” and “Islamic Religion, Healing, and Medicine in terrorism” in Europe and the United States and its relationship to economic and political the United States entanglements with countries that support these Irene Elizabeth Stroud groups as part of their religious establishment or as Sophomore and above, Seminar—Spring destabilizing forces to be used against others. Processes that the discipline of medicine Memoir or other literary material will help us understands primarily in biological terms—such as understand the appeal of these religious the cycle of conception, pregnancy, and childbirth; orientations, as well as the disenchantment of those recovery from illness or injury; pain; death—are who have rejected them. While there is no frequently experienced as spiritual or religious background required for this course, a strong experiences by those who undergo them. interest in reading texts explaining the intricate Understanding such experiences may even bring us details of Islamic theology and law is essential. close to understanding the essence or fundamental meaning of religion; for while specific beliefs and practices vary enormously between and within Readings in Early Christianity: The religious traditions, most—if not all—religions Johannine Community incorporate ideas about physical and spiritual Cameron C. Afzal healing. Some scholars have even argued that Intermediate/Advanced, Seminar—Fall religion is, at root, a kind of medicine that may be The Fourth Gospel of the Christian New Testament described as a balm in Gilead, a practice of yoga, or a and the epistles associated with its authors, 1-3 careful balancing of complementary forces. In this John, have been particularly significant for the course, we will learn about the religious traditions development of Christian thought. In this course, we informing practices such as traditional Chinese will study The Gospel of John closely, engaging in the medicine, healing prayer, and mindfulness hermeneutical arts with an eye to the development meditation. We will also pay attention to the ways in of Christian theology, as well as uncovering the which religion and spirituality affect persons history and growth of the early Christian community undergoing modern Western medical treatment and responsible for its unique prose and views regarding will investigate some of the ways in which religious Jesus of Nazareth and the role of Christian knowledge, belief, and practice may either help or discipleship. We will immerse ourselves in the hinder physical well-being. Hellenistic world, especially as it relates to Mediterranean Judaism. In doing so, we will examine Salafi and Jihadi Thought the roots of Christian anti-Semitism and the development of Gnosticism and Christian docetism. Kristin Zahra Sands Intermediate, Seminar—Spring The turmoil of recent decades in the Middle East and the high-profile attacks in Europe and the United States have sent journalists, public intellectuals, and scholars racing to define and assess the theological 142 Russian Classical Sufi eT xts Popular Culture in China (p. 15), Ellen Neskar Asian Studies Kristin Zahra Sands Images of India: Text/Photo/Film (p. 16), Sandra Intermediate/Advanced, Seminar—Spring Robinson Asian Studies Between the 11th and 13th centuries, an impressive Pilgrimage and Tourism: South Asian body of literature emerged from the religious Practices (p. 17), Sandra Robinson Asian Studies movement that came to be known as Sufism. These Sacrifice (p. 17), Sandra Robinson Asian Studies are writings that describe spiritual disciplines, moral Writing India: Transnational Narratives (p. 15), guidelines, and metaphysical thought—sometimes Sandra Robinson Asian Studies in highly appealing stories and poetry and Romantic Europe (p. 69), Philip Swoboda History sometimes in dense, rich prose. In this course, we The Enlightenment (p. 69), Philip Swoboda History will explore excerpts in English translation from the Holy Lives: Spirituality, Saints, and the Cult of classics of three of the most influential of the Celebrity in the Middle Ages (p. 90), Gillian mystics from this time period. Qushayri, Rumi, and Adler Literature Ibn “Arabi” are among the most widely read and 17th-Century British Literature (p. 88), William studied Sufis. Their emarkr able intellectual and Shullenberger Literature literary talents have given their works longevity, The Bible and Literature (p. 87), William especially among those who continue to mine them Shullenberger Literature for spiritual wisdom and guidance. All three were How to Become Who You Are: Readings in intensely committed to Muslim practices, which they Nietzsche’s Philosophy of Life (p. 113), Roy Ben- sought to understand in profound and expansive Shai Philosophy ways. This meant thoughtful attention to the details Building Resilience: Tools From Positive of the legalistic norms of Shari‘a even as they Psychology (p. 127), Rochelle Cassells articulated a more refined system of ethics based on Psychology their readings of the Qur’an and sayings of the First-Year Studies: Forms and Fictions (p. 172), Myra Prophet Muhammad. For these Sufis, the subtler Goldberg Writing virtues to which humans aspire are inextricably Eco-Poetry (p. 181), Marie Howe Writing linked to views of reality and the human self that are Our World, Other Worlds (p. 174), Myra Goldberg radically different from common notions. Spiritual Writing practice is as much about discipline as it is about What’s the Story? A Radio Journalism Class (p. 178), seeking knowledge. The ultimate goal is intimacy Sally Herships Writing with God. The works to be studied will include long passages from Qushayri’s Risala, Rumi’s Mathnawi, and Ibn “Arabi’s” Futuhat al-makkiyya. Previous course work in or knowledge of Islamic Studies, RUSSIAN Sufism, or another mystical tradition is desirable for this course. Permission of the instructor is required. The goal of the Russian language classes at Sarah Lawrence College is to teach students to speak, Other courses of interest are listed below. Full comprehend, read, and write a fascinating language descriptions of the courses may be found under the with a logic very different from that of English. Oral appropriate disciplines. proficiency is the focus of the first-year class, culminating in end-of-semester projects where Specters of the Subject: Hauntologies of Ghosts, students, in small groups, write and film skits. In the Phantasms, and Imaginings in Contemporary second-year course, reading is also emphasized. We Life (p. 7), Robert R. Desjarlais Anthropology include short stories and poetry, as well as texts “A Talent for Every Noble Thing”: Art, Architecture in paired with films. opics,T texts, and authors covered Italy, 1300-1600 (p. 11), Joseph C. Forte Art in the advanced class vary widely, and student input History is strongly encouraged. Past syllabi have included East vs. West: Europe, the Mediterranean, and works by authors such as Pushkin, Gogol, Tolstoy, Western Asia From Antiquity to the Modern Tsvetaeva, Bulgakov, and Pelevin, as well as films. Age (p. 10), David Castriota Art History Student work in class and conference is also First-Year Studies: Gods, Heroes, and Kings: Art and supplemented by weekly meetings with the Myth in the Ancient World (p. 10), David language assistant and by a variety of Castriota Art History extracurricular activities, including a weekly Russian Religion and the State in China (p. 17), Ellen Neskar Asian Studies THE CURRICULUM 143 Table, Russian opera at the Metropolitan Opera in Intermediate Russian New York City, and excursions to Brighton Beach, Natalia Dizenko Brooklyn’s “Little Odessa.” Intermediate, Seminar—Year Students of Russian are strongly encouraged to At the end of this course, students should feel that spend a semester or, ideally, a year abroad. Sarah they have a fairly sophisticated grasp of Russian and Lawrence students regularly attend a variety of the ability to communicate in Russian in any programs, including: Middlebury College’s School in situation. After the first eary of studying the Russia, with sites in Moscow, Irkutsk, and Yaroslavl; language, students will have learned the bulk of Bard College’s program at the Smolny Institute in St. Russian grammar; this course will emphasize Petersburg; the Moscow Art Theatre School Semester grammar review, vocabulary accumulation, and through Connecticut College; ACTR in Moscow, St. regular oral practice. Class time will center on the Petersburg, or Vladimir; and CIEE. spoken language, and students will be expected to The Russian program also offers courses taught participate actively in discussions based on new in translation as part of the literature curriculum. vocabulary. Regular written homework will be Recent literature courses include: The Literatures of required, along with weekly conversation classes Russian and African American Soul: Pushkin and with the Russian assistant. Attendance at Russian Blackness, Serfs and Slaves, Black Americans and Table is strongly encouraged. Conference work will Red Russia; Dostoevsky and the West; The 19th- focus on the written language. Students will be Century Russian Novel; and Intertextuality in the asked to read short texts by the author(s) of their 20th-Century Russian Novel. More generally, students choice, with the aim of appreciating a very different of Russian also pursue their interest in Russia and culture and/or literature while learning to read Eastern Europe in many other areas of the College. independently, accurately, and with as little recourse Conference work always may be directed toward the to the dictionary as possible. Prerequisite: one year student’s field of interest. Courses focusing either of college-level Russian or the equivalent. entirely or in part on Russia and/or Eastern Europe are regularly offered in a number of disciplines, including history, film history, dance history, and Another course offered in a related discipline this philosophy. year is listed below. A full description of the course may be found under the appropriate discipline. Beginning Russian Translation Studies: Poetics, Politics, Theory, and Melissa Frazier Practice (p. 91), Bella Brodzki Literature Open, Seminar—Year At the end of this course, students will know the fundamentals of Russian grammar and will be able to use them to read, write, and, above all, speak SCIENCE AND MATHEMATICS Russian on an elementary level. Successful language Science is a dynamic process by which we seek to learning involves both creativity and a certain improve our understanding of ourselves and the amount of rote learning—memorization gives the world around us. We use the language and methods student the basis to then extrapolate, improvise, and of science and mathematics on a daily basis. Science have fun with the language—and this course will lay and mathematics nurture a special kind of creativity equal emphasis on both. Our four hours of class each by enhancing our abilities to ask concise, meaningful week will be spent actively using what we know in questions and to design strategies to answer those pair and group activities, dialogues, discussions, etc. questions. Such approaches teach us to think and Twice-weekly written homework, serving both to work in new ways and to uncover and evaluate facts reinforce old and to introduce new material, will be and place them in the context of modern society and required. At the end of each semester, we will everyday life. The Science and Mathematics division formalize the principle of rigorous but creative offers classes in a variety of disciplines, including communication that underlies all of our work biology, chemistry, computer science, mathematics, through small-group video projects. Students are and physics. Studies in each of these disciplines are also required to attend weekly meetings with the offered at all levels, ranging from open courses to Russian assistant; attendance at Russian Table is advanced seminars and individual laboratory strongly encouraged. research projects. 144 Social Science Qualified students have the option of enrolling institutions and processes that are the context for in a Science Third program. In the Science Third, our individual thoughts and actions. Thus, the students simultaneously register for the seminar purpose of the social-science curriculum is to component of two science/mathematics courses, contribute to our empowerment by helping us which comprises one-third of their curriculum. understand the many ways in which people’s Because Science Third students will still be able to lives—values, goals, relationships, and beliefs—are take two additional nonscience courses each affected by and have an impact on the social world. semester, this option is an opportunity for well- Most importantly, we can learn to contextualize our prepared or advanced students to study multiple experiences in relation to those of others whose science courses without limiting their options in personal, social, and cultural circumstances differ other disciplines. For more details and information, from our own. An ability to think critically about our please contact the faculty group. social environment can enhance our experience of whatever else we may choose to study or do. Pre-Health Program In relation to the humanities, the social sciences offer empirical and theoretical Students interested in pursuing further studies in perspectives that complement those of history, medicine or other health-related fields may take philosophy, and religion. In relation to literature and advantage of the pre-health program, which the creative arts, social sciences provide a context prepares students academically for medical school for a fuller understanding of the works that we study and assists in meeting the demands of admission to and create. In relation to the natural sciences, social individual medical or graduate programs. Students sciences help us analyze the economic, social, and supplement required courses in biology, chemistry, political implications of modern technological and physics with additional courses offered by the advances and our complex interaction with the division as part of their preparation for the MCATs physical and biological environment. Finally, social- and postgraduate education. Conference work science disciplines give us access to the information provides students with additional opportunities to and analytical tools that we must have in order to organize original research projects, pursue evaluate and formulate alternative public policies independent learning, and critically examine and to actively contribute to intellectual and public professional literature—skills fundamental to future life. success in medical and graduate schools. Students For full course descriptions, see anthropology; in the program have significant contact with the pre- economics; environmental studies; politics; public health adviser, as well as with other faculty policy; science, technology, and society; and members in the division, through conferences, sociology. course work, and independent research. Therefore, faculty members with a thorough and personal knowledge of the individual student write letters of SOCIOLOGY recommendation. The pre-health adviser and faculty members also serve as resources for information Class, power, and inequality; law and society regarding application procedures, research and (including drugs, crime and “deviance”); race, volunteer opportunities within the community, ethnicity, and gender issues; and ways of structuring of class work, MCAT preparation, and seeing...these are among the topics addressed by practice interviews. Sarah Lawrence College students and professors in See separate entries for specific oursec sociology courses. Increasingly, social issues need to descriptions in biology, chemistry, computer science, be—and are—examined in relation to developments mathematics, and physics. in global politics and economics. Students investigate the ways in which social structures and institutions affect individual experience and shape SOCIAL SCIENCE competing definitions of social situations, issues, and identities. The social-science program is designed to enrich and Courses tend to emphasize the relationship systematize the understanding that we have of our between the qualitative and the quantitative, own experiences in relation to broader societal between theoretical and applied practice, and the forces. The social sciences begin from the premise complexities of social relations rather than relying that no matter how much we might wish to, we can on simplistic interpretations, while encouraging never detach ourselves entirely from the social student research in diverse areas. Through reading, THE CURRICULUM 145 writing, and discussion, students are encouraged to games. For conference, students will be expected to develop a multidimensional and nuanced develop a yearlong research project around a understanding of social forces. Many students in particular theme or problem related to migration and sociology have enriched their theoretical and borders. During the first semester, students will empirical work by linking it thematically with study prepare a research proposal (with a review of the in other disciplines—and through fieldwork. relevant literature, research questions, and proposed methods of data gathering). For the second First-Year Studies: Nations, semester, students will complete the analysis and Borders, and Mobilities: An prepare their reports and papers. For these projects, Introduction to Migration Studies students will be encouraged to conduct mini- ethnographic projects, interviews, surveys, and/or Parthiban Muniandy archival research in line with their particular Open, FYS—Year interests and skills. In the fall semester, students In a global context where immigration has become will also be given an introduction to working with one of the biggest flashpoints in political discourse, local organizations and groups that are involved with our understanding of how people (and things) move migrant communities—followed by engagement across national borders needs to be re-examined and work in the spring with one of those organizations. reconsidered. In addition to major humanitarian issues leading to global refugee crises, we are also looking at an ever-growing number of people who First-Year Studies: move across and within national borders in search of (Re)Constructing the Social: work, opportunities, education, and a chance to Subject, Field, Text fulfill their aspirations for a better life. People also Shahnaz Rouse move because of conflict, dispossession, coercion, Open, FYS—Year and environmental issues. Much of this happens in How does the setting up of a textile factory in the backdrop of rising xenophobia, anti-immigrant Malaysia connect with life in the United States? hatred, and the emergence of far-right supremacist What was the relationship of mothers to children in movements across societies in the West. Powerful upper-class, 17th-century French households? How and virulent new articulations of national “purity” do our contemporary notions of leisure and luxury and values are being championed in the name of resemble, or do they, notions of peoples in other protecting nationhood from the foreign “Other.” times and places regarding wealth and poverty? Classical scholarship on migration has focused What is the relation between the local and the predominantly on two largely distinct phenomena of global, the individual and society, the self and “immigration” and “emigration,” while more recent “other(s)”? How is the self constructed? How do we developments in transnational studies have led to a connect biography and history, fiction and actf , stronger emphasis on cross-border movements and objectivity and subjectivity, the social and the flows of people, goods, capital, ideas, and vectors. personal? These are some of the questions that This yearlong course serves as an introduction to the sociology and sociologists attempt to think through. field of migration studies, drawing upon sociological In this seminar, we will ask how sociologists analyze and anthropological scholarship on issues such as and simultaneously create reality, what questions refugee crises, human trafficking, onomicec we ask, and what ways we use to explore our exploitation of migrants, modern-day slavery and questions and arrive at our findings and onclusions.c indentured servitude, and the increasingly Through a perusal of comparative and historical precarious conditions of migration. Questions materials, we will look afresh at things that we take include: What are some of the reasons influencing for granted; for example, the family, poverty, identity, the movement of people away from their homes and travel and tourism, progress, science, and countries of origin? How does the movement of subjectivity. The objective of the seminar is to enable people from privileged and wealthier backgrounds students to critically read sociological texts and also differ from that of people from poorer, marginalized to become practitioners in “doing” communities (particularly in the Global South)? sociology—something we are always already What are some of the institutional frameworks and involved in, albeit often unself-consciously. This last regimes that govern, regulate, and produce new endeavor is designed both to train students in how classes of “migrants” in today’s world? We will be to undertake research and intended as a key tool in using classical and contemporary readings that interrogating the relationship between the address the themes and issues at hand in addition to researcher and the researched, the field studied, and nontraditional sources such as videos, fiction, and the (sociological) text. In conference, students will 146 Sociology undertake research on topics of interest to them and hormonal systems, the brain, and genetics. We will learn the craft of research by working on topics of consider the varying relationships of gay, direct interest to them. In the seminar, students will transgender, and intersex communities with science also engage in a few shorter collaborative projects and medicine and tensions within those with their peers. communities over whether scientific and medical knowledge is empowering or alienating. The books Informality and Precariousness in that we read will introduce students to the variety of methods and approaches used in the historical and the City: Family, Home, and the sociological study of science and medicine, from Politics of Transnational Life close evaluation of the scientific evidence itself to Parthiban Muniandy analysis of the production of knowledge as a social Open, Seminar—Fall activity and to broad analysis of science and The UNHCR puts the number of stateless medicine within politics, popular culture, and social people—those denied nationality—at 10 million movements. Conference work could hew closely to globally. Often, these are migrants, refugees, victims the topic of the seminar through the study of a of trafficking, and displaced groups who find particular debate, historical period, or area of themselves living under extremely precarious and scientific or medical research—or it could extend vulnerable conditions and without much in terms of outward to a broader set of topics such as hormones resources and rights. Cities and urban areas become and transgender health, the role of science in important spaces in which the marginalized poor religious debates over sex and sexuality, or and excluded communities seek refuge and shelter representations of queer bodies in art or popular and engage in forms of rebuilding and place-making culture. that tends to fall outside of the purview and control of the state and the authorities. Here, we take a Understanding Mass Media: broad transnational perspective on how the precarious and vulnerable urban poor develop Theories and Methods of strategies and practices of living that are geared Sociological Analysis toward securing greater autonomy and dignity, Sarah Wilcox primarily through forms of peripheral development Open, Seminar—Spring and informality. We will explore interconnected The mass media profoundly shape everyday reality. themes of family, kinship, work, gender, and social We become aware of the world beyond our reproduction as they pertain to the urban poor. Some immediate experience through media of the theories and concepts that we will read representations and virtual social networks. include Teresa Caldeira’s “autoconstruction,” Asef Representations do not simply convey information Bayat’s “quiet encroachment of the ordinary,” Henri but also structure our understanding of society, the Lefebvre’s “right to the city,” and Ananya Roy’s meaning of social categories, and our sense of self. “subaltern urbanism.” This course will provide an introduction to theories of media and society, including the media as a Queer Bodies: A Cultural History of component within capitalist economies, as a public sphere in democratic societies, and as a form of Medical and Scientific Knowledge culture. We will explore how the media make Sarah Wilcox meaning and how social identities are reflected and Open, Seminar—Fall constructed through media products. We will How have physicians and scientists studied and consider audiences as consumers of media and as understood differences in sex, gender, and sexuality? active participants in the use of media in everyday What categories have they used, and how have these life. Students will learn methods of media categories and the assumptions underlying them analysis—including narrative analysis, genre theory, changed over time? How have popular conceptions content analysis, framing, and semiotics—and apply of gender and sexuality influenced science, and vice them in collaborative projects and conference work. versa? What has been at stake in viewing social Although this course will include interdisciplinary differences as located in the body? How can we content, the class will be rigorous and is likely to understand the medicalization and pathologization appeal to students with a strong interest in studying of queer bodies, genders, and sexualities in relation and applying theories and methods of qualitative to broader cultural, moral, and political agendas? In social science. this seminar, we will examine the history of scientific and medical study of sexual behavior, THE CURRICULUM 147 Health Policy/Health Activism and in-depth study of Marx’s writings and those of others about him, we will examine the impact of Sarah Wilcox Marx’s ideas on thinking about and practices of Sophomore and above, Seminar—Year social change. The themes in Marx’s writings on How does your race, class, gender, and where you which we will focus include the following: his views live and work influence whether you get sick? Why on human nature, social structures and individual does the United States spend more on healthcare agency and subjectivity, alienation, religion and than other countries, yet rank relatively low on many ideology, objectification and commodification, social measures of good health? How likely is it that you class and power relations, and political economy will have access to healthcare when you need it? including globalization. Following our close scrutiny Can we make affordable healthcare available to of Marx’s work in the fall, in the second semester we more people? What do we mean by “public health”? will study later thinkers whose work has been What is the role of government in providing inspired by Marx and who carried his ideas further healthcare or managing the health of populations? and/or addressed new questions in the light of In this course, we will investigate these questions developments since the historical period in which directly and through studying health social Marx was writing. Among the latter, we will include movements. Health activists have not only thinkers such as Gramsci, Barthes, and Williams, who advocated for particular diseases and for research addressed questions of culture and hegemony; funding but also have also sought to reduce stigma, structuralists like Althusser, who dealt with the uncover health disparities and environmental state and ideology; socialist feminists interested in injustices, and democratize medical research. the relationship of class, gender, and sexuality; Throughout the year, we will examine the history and geographers interested in the relationship of space, contemporary meanings of “health,” examining the class, and power such as David Harvey and Dorren moral values attached to health and illness and Massey; critical race theorists; and current analysts questions of medical authority and medical of globalization. For conference, students could work knowledge. We will begin in the fall semester by on specific social thinkers in the Marxist tradition studying health social movements in conjunction and/or examine political and social movements with studying patterns of ill health; i.e., who gets inspired by his analysis. sick and why? In the spring semester, we will turn to healthcare systems, both within the United States and globally. We will study programs of healthcare Other courses of interest are listed below. Full reform in the United States and other countries, descriptions of the courses may be found under the international health policy, and specific health policy appropriate disciplines. issues such as vaccination, genetic screening, or the First-Year Studies: How Things Talk: The Linguistic ethics of medical research. Throughout the year, we Materialities of Late Capitalism (p. 4), Aurora will explore broad questions of social justice, Donzelli Anthropology inequalities, governance, activism, and the Paris, City of Light and Violence (p. 4), Robert R. environment through the lens of health. Desjarlais Anthropology Understanding Experience: Phenomenological Marx and Marxisms: Lineages and Approaches in Anthropology (p. 5), Robert R. Contemporary Relevance Desjarlais Anthropology Faking Families: How We Make Kinship (p. 5), Mary A. Shahnaz Rouse Porter Anthropology Advanced, Seminar—Year Making the World Go Round: Children as Cogs in the Ideas of social movements and social change Wheels of Empire (p. 6), Mary A. Porter throughout the world in the 19th and 20th centuries Anthropology were significantly informed by the ideas of one Sacrifice (p. 17), Sandra Robinson Asian Studies social thinker: Karl Marx. Even today, thinkers in the Political Economy of Women (p. 38), Kim Christensen humanities and social sciences— including media Economics and cultural studies—along with social and political Econometric Analysis: Structural Explorations in the activists continue to be engaged with Marx’s ghost. Social Sciences (p. 38), Jamee K. Moudud While many detractors would argue—following the Economics collapse of the Soviet Union and the end to the “Cold Microeconomic Theory and Policy: Advanced War”—that Marx’s thought is now irrelevant, others Topics (p. 40), Jamee K. Moudud Economics argue the opposite: that the current phase of Resource Economics and Political Ecology (p. 39), globalization that we are presently in was, in fact, John Casey Nicolarsen Economics anticipated by Marx. In this seminar, through a close 148 Spanish Documentary Filmmaking: Truth, Freedom, and SPANISH Bearing Witness (p. 47), Damani Baker Filmmaking and Moving Image Arts Sarah Lawrence College’s courses in Spanish cover Food, Agriculture, Environment, and grammar, literature, film, music, and Development (p. 61), Joshua Muldavin translation—all with the aim of making students Geography more capable and confident in thinking, writing, and Introduction to Development Studies: The Political expressing themselves in Spanish. Each of the Ecology of Development (p. 62), Joshua yearlong courses integrates activities such as panel Muldavin Geography discussions, lectures, and readings with classroom Right and Left in Latin America (p. 74), Margarita discussion and conference work to provide students Fajardo History with stimulating springboards for research and Drugs, History, and Politics in Latin America and study. Beyond (p. 74), Margarita Fajardo History Transformation Sounds! Ethnomusicology and Social Beginning Spanish: At the Movies Change (p. 101), Niko Higgins Music Heather Cleary Community and Civility (p. 121), Samuel Abrams Open, Seminar—Year Politics This course will enable students without previous First-Year Studies: Imperialism, Resistance, knowledge of Spanish to develop the skills necessary Development, Intervention: African States in to achieve effective levels of comprehension and the International System (p. 118), Elke Zuern communication. A combination of communicative Politics and vocabulary-building exercises will prepare State Terror and Terrorism (p. 120), Elke Zuern students to navigate everyday situations, while Politics Spanish-language films yb directors such as Pedro Family Caregiving Across the Life Cycle (p. 128), Almodóvar, Icíar Bollaín, and Guillermo del Toro will Magdalena Ornstein-Sloan Psychology provide the cultural and historical grounding for Crossing Borders and Boundaries: The Social discussion and enrich classroom exercises that Psychology of Immigration (p. 126), Gina reinforce the skills built into each unit. Students will Philogene Psychology also begin to develop a critical vocabulary for talking The Historical Evolution of Psychological about cultural objects and will write descriptive Thought (p. 128), Gina Philogene Psychology profiles, creative works, and critical pieces. Students Thinking Evil: A Social Psychological will view the films outside the seminar meetings; Exploration (p. 130), Gina Philogene Psychology group conferences will reinforce the work that we do Children’s Health in a Multicultural Context (p. 132), in class, addressing individual needs and introducing Linwood J. Lewis Psychology additional cultural materials in the form of songs Emerging Adulthood (p. 128), Linwood J. Lewis and newspaper articles. Weekly conversation Psychology sessions with a language assistant are also an What’s in a Name? Perspectives on Poverty (p. 129), integral part of the course. Rochelle Cassells Psychology Immigration, Race, and the Making of the United States: An Immigration Policy Beginning Spanish Perspective (p. 136), Luisa Laura Heredia Public Eduardo Lago Policy Open, Seminar—Year Marijuana, DACA, and Guns: A Primer on Voice and The aim of this course is to enable students who Power in Crafting Policy Change (p. 136), Luisa took some Spanish in the past but have not used it in Laura Heredia Public Policy a while to develop the skills necessary to achieve American Religious Mythmaking: The Stories We Tell effective levels of communication in Spanish. Before Ourselves (p. 139), Irene Elizabeth Stroud fully embarking in the usage of the language in an Religion active, comprehensive way, we will conduct a Religion, Healing, and Medicine in the United thorough review of the grammatical system. States (p. 141), Irene Elizabeth Stroud Religion Simultaneously, we will proceed to recover, First-Year Studies: Theatre Outreach: Theatre and consolidate, and expand a substantial basic Community (p. 151), Allen Lang Theatre vocabulary through a program of integrated readings Nonfiction orkW shop: To Tell the Truth (p. 178), and communicative activities, including the Suzanne Gardinier Writing exploitation of audiovisual resources aimed at developing good aural/oral skills. The main goal of the class is to achieve effective communication in THE CURRICULUM 149

Spanish in a relatively short span of time. From the experience.) Along the way, we will look into what it start, students will be in touch with authentic means to be “Spanish,” nationalism and other Spanish-language materials in the form of identities (Basque, Catalán), the violence to which newspaper articles, films, songs, and poems, as ellw the country was subjected during the Civil War, and as short literary and non-literary texts. The viewing the pact of silence that followed 36 years of fascist of films, documentaries, episodes of popular TV dictatorship (the Franco regime and then the series, as well as the reading of blogs and digital “transición”). How does the country of Opus Dei publications will take place outside the seminar enact the first European constitutional amendment meetings, serving as the basis of class discussions to legalize gay marriage? And how do immigrants and debates. Weekly conversation sessions with the from Africa, Eastern Europe, Asia, and Latin America language assistant are an integral part of the challenge notions of “the other.” These are some of course. the questions we will ponder, and you will no doubt come up with others of your own as we move Intermediate Spanish I: Latin through texts and films. xE cept for a few theoretical/ critical texts in English, all readings will be in America, a Mosaic of Cultures Spanish. Second semester, we will focus primarily on Priscilla Chen Cuba and continue to develop writing skills in Intermediate, Seminar—Year Spanish. Open to qualified students as determined by This course is intended for students who have had at a personal interview with the instructor and the least one year of college-level Spanish or the results of the Spanish Placement Test (online). equivalent and who wish to review and expand the fundamentals of the Spanish language while exploring the rich cultural mosaic of Latin America. Advanced Spanish: Introduction to We will also pay special attention to oral Literature communication and the expansion of new Eduardo Lago vocabulary; and we will explore different writing Advanced, Seminar—Year formats to create a dynamic dialogue among This seminar will operate on two distinct levels: grammar, literature, and culture to contextualize language work at an advanced level, and an multiple meanings while increasing fluency in every introduction to the literature(s) of the Spanish- aspect of language production. For conference, speaking world via the study of relevant works by students will have a chance to explore and develop very recent authors. Initially, the emphasis will be on topics related to Hispanic culture. To enrich the the study of grammar, syntax, and the acquisition of student’s exposure to the mosaic of Latin American a solid body of vocabulary at a sophisticated level. cultures, we’ll try to take advantage of our local During the first eeksw of the fall semester, we will resources such as museums, libraries, and theatre. focus on the consolidation and integration of Students will meet with a language assistant once a linguistic skills. While we do this, we will explore all week in order to practice their speaking and oral forms of culture—making use of different kinds of comprehension. The course will be taught entirely in audiovisual resources such as audio podcasts, Spanish. The Spanish Placement test is interviews, documentaries, TV programs, and other recommended for students, especially those who formats. We will also start a program of thorough have not taken Spanish at Sarah Lawrence College. readings centered on a wide range of disciplines and fields. Art, film, music, photography, theatre, science, Intermediate Spanish II politics, comics, video games, gastronomy...all forms and manifestations of culture, high and low, will be Isabel de Sena the object of our attention as long as their vehicle of Intermediate, Seminar—Year expression is Spanish. Students will be encouraged This course is intended for students who have to contribute to the syllabus by locating on the completed roughly two years of college Spanish or Internet different kinds of Spanish-language the equivalent in high school. Emphasis will be on materials. Once the theoretical comprehension of reading and watching films while broadening your grammar—together with the mastery of linguistic knowledge of primarily Spanish literature and skills and the acquisition of both a sophisticated cinema and, at the same time, honing short- to mid- reading capacity and a rich vocabulary—is secured, length essay-writing skills in Spanish. (Given the we will start to give priority to the study of literary emphasis on reading and writing, this course is also works. That will constitute the center of classwork suitable for first earsy who would like to work in in the second part of the year. During the spring both English and Spanish as part of their first-year semester, the class will fully operate as a literature 150 Theatre seminar. The focus of study will consist of an The theatre program examines not just exploration of the newest literary works produced in contemporary American performance but also the last 10 years all over the Spanish-speaking world, diverse cultural and historical influences that a strikingly rich and diverse body of fictional et xts precede our own. Courses include Alexander that reflect the incredibly varied cultures of Latin Technique, acting, comedic and dramatic America and Spain as viewed through the eyes of its improvisation, creation of original work, design, youngest generations of authors. directing, movement, musical theatre, playwriting, puppetry, speech, solo performance, voice, and the Other courses of interest are listed below. Full art of bringing theatre into the local community. descriptions of the courses may be found under the appropriate disciplines. Curriculum Christians, Jews, and Muslims and the Arts of Medieval Spain: Art, Religion, and Students create an individualized Theatre Third with Identity (p. 12), Jerrilynn Dodds Art History the guidance of their don and the theatre faculty. Making Latin America (p. 68), Margarita Fajardo Components are chosen to extend skills and History interests and to develop performing and practical Right and Left in Latin America (p. 74), Margarita experience. There are open auditions for faculty-, Fajardo History student-, and guest-directed productions. There is Drugs, History, and Politics in Latin America and also a proposal system for student-directed, - Beyond (p. 74), Margarita Fajardo History written, and -devised work within the seasonal First-Year Studies: (Making) World Literature (p. 85), production schedule. Heather Cleary Literature Translation Studies: Poetics, Politics, Theory, and Practicum Practice (p. 91), Bella Brodzki Literature The theatre faculty is committed to the philosophy that students learn by doing. Classes provide a THEATRE rigorous intellectual and practical framework, and students are continually engaged in the process of The Sarah Lawrence College theatre program making theatre. The program helps students build a embraces the collaborative nature of theatre. Our solid technique based on established methodologies objective is to create theatre artists who are skilled while also being encouraged to discover and develop in many disciplines: actors who write; directors who their individual artistic selves. Wide-ranging act; theatre makers who create their own projects; opportunities are available for students to learn by and sound, set, and lighting designers who are well- doing. Students may participate in internships or versed in new media and puppetry. Students have fieldwork in New York City theatres and theatre the advantage of choosing from a multidisciplinary organizations. The College’s Theatre Outreach curriculum taught by working theatre professionals program is a training program that uses music, that also draws on the resources of the College’s writing, theatre techniques, and the visual arts to theatre, music, and dance programs. At the heart of address social and community issues. The outreach this curriculum are focused programs in acting, course has been a vibrant component in the directing, playwriting, and design, with curriculum for more than two decades, encouraging supplementary offerings in production and technical the development of original material with a special work. emphasis on cross-cultural experiences. Theatre students are encouraged to cross Many theatre components include an open- disciplines as they investigate all areas of theatre. class showing or performance. In addition, multiple The faculty is committed to active theatre performance and production opportunities in acting, training—students learn by doing—and have put singing, dance, design, directing, ensemble creation, together a vocabulary that stresses relationships playwriting, and technical work are available to among classical, modern, and original texts. The students throughout the academic year. The program uses a variety of approaches to build College’s performance venues include productions technique while nurturing individual artistic and readings sponsored by the department in the directions. Suzanne Werner Wright Theatre, a modified thrust stage, and the Frances Ann Cannon Workshop Theatre, as well as student-produced work in the student-run blackbox DownStage Theatre. THE CURRICULUM 151

Workshops, readings, and productions are also complete the same theatre meeting attendance and mounted in the blackbox OpenSpace Theatre, Film technical support hours requirements that all Viewing Room, Outdoor Stage Theatre, and various students enrolled in Theatre Thirds must complete. other performance spaces throughout the campus. First-Year Studies: Theatre Performance/Acting Outreach: Theatre and Community Actor’s Workshop: Suit the Action Allen Lang Open, FYS—Year to the Word, the Word to the Students will explore the theatre artist working in Action—Hamlet, III, ii, 17-18 the community, the theatre artist/activist Ernest H. Abuba responding to a population’s particular needs, Open, Component—Year sharing skills and creating work that connects and Students will work on voice work, script analysis, empowers their fellow citizens. Students will sensory exercises, a Shakespeare sonnet, cold experience the impact of sharing creative skills in readings, improvisation, auditioning, and extensive the community. Starting close to campus, the class scene work from the following playwrights: Sara will become better acquainted with the richness and Ruhl, Theresa Rebeck, Susan Yankowitz, Maria Irene diversity that is Yonkers. Exploring Yonkers, students Fornes, Suzan-Lori Parks, Jean-Paul Sartre, Eugene will research the complex sociological issues Ionesco, Jean Anouilh, Edward Albee, Tennessee surrounding this, the fourth-largest city in New York Williams, Samuel Beckett, Oscar Wilde, Lynn Nottage, State. In addition to the political, we will venture into Katoria Hall, Arthur Miller, and Edward Baker. Yonkers to explore public parks, spaces, landmarks, Required text: The Art of Acting, by Stella Adler. This and cultural institutions and meet and interact with class meets twice a week. the people who run them. Incorporating a vocabulary of theatre and everyday movement, students will Actor’s Workshop: Acting design and develop their own art in the public sphere by constructing a site-specific environmental Techniques performance video piece in a Yonkers park, Michael Early combining the political with the poetic. The class Open, Component—Year will learn about the work of theatre artists who This class will explore various techniques designed listen, connect, and extend their theatre-making into to free the actor physically, vocally, and communities—theatre makers who are catalysts for imaginatively. Students will be encouraged to give change. Students will also look into the mission of themselves permission to play, emphasizing process Sarah Lawrence College and its continuing rather than results. Students will be assigned commitment to experiential learning through monologues and scenes that challenge them to community engagement, exploring the history of expand their range of expression and build the artistic practices and sharing of creative skills of the confidence to make bold and imaginative acting Sarah Lawrence College Theatre Outreach Program choices. Particular attention will be paid to learning and other campus programs and initiatives. This to analyze a text in ways that lead to defining clear, course will include trips to New York City to view specific, and playable actions and objectives. This theatre that explores and provokes dialogue about class meets twice a week. race, gender, class, and other issues. Assigned readings, course discussions, and exercises will Acting Shakespeare explore tools for making theatre in the community. A Michael Early very strong interest in collaborative theatre-making Intermediate, Component—Year and for sharing expressive skills connected to Those actors rooted in the tradition of playing community work is required for students enrolling in Shakespeare find themselves equipped with a skill this course. Conference work will entail research set that enables them to successfully work on a wide into Applied Theatre, Performance Theory, and range of texts and within an array of performance Theatre for Social Justice movements. Students modalities. The objectives of this class are to learn enrolled in FYS in Theatre are also allowed, but not to identify, personalize, and embody the structural required, to take one extra component in the theatre, elements of Shakespeare’s language as the primary dance, or music programs as part of their Theatre means of bringing his characters to life. Students Third. All students enrolled in FYS in Theatre must will study a representative arc of Shakespeare’s plays, as well as the sonnets, with the goal of 152 Theatre bringing his characters to life. Class time will be Audition Conference divided among physical, vocal, and text work. This David Caparelliotis, Tara Rubin class meets twice a week. Advanced, Component—Fall This class is for the serious-minded actor who, after BREAKING THE CODE: Defining graduation, anticipates pursuing a career as a Moment performer. Predicated on the idea that auditioning is Kevin Confoy a learned skill at which one gets better with more Intermediate, Component—Fall experience and practical knowledge, the class will This is an acting class that recognizes monologues focus at its core on the only unalienable factor: the as the ultimate revelation of a character’s Truth. individuality of the actor him/herself. As much time Students will work on one-person and monologue will be spent on material selection as on execution; plays and existent monologues from within full- actors will be asked to make necessary friendships length modern and contemporary works as a way of with the dreaded “monologues” and, hopefully, come determining a character’s behavior and exposing to regard them as necessary filters through which those moments in a play when a character’s Truth is they can express themselves as both people and revealed. Actors will leave DEFINING MOMENTS, artists. Cold-reading prep will also be covered. The having worked on an assortment of monologues hope is for the actor to leave class with not only one from a range of plays that specifically includes or two terrific audition pieces but also a better works of The Kilroys, “a gang of playwrights and understanding of the casting process itself and what producers who came together to stop talking about is in and out of his/her control. This class is for gender parity in theatre and start taking action,” seniors only and meets once a week. among many others. This class will meet twice a week. Acting for Camera K. Lorrel Manning The Art of Improvising: Athletics Advanced, Component—Year of the Creative Mind Great camera work demands intimacy, emotional adaptability, risk, and connection. Students will learn Christine Farrell how to maintain an organic experience despite the Open, Component—Fall rigid technical restrictions and requirements. During We will explore techniques for spontaneous behavior, the fall semester, we will work on cold-reading immediate creation, and developing your creativity techniques, emotional expansion exercises, and and truth on stage. The goal of the class exercises scenes from published works. In the second will be to build community and collaboration, to semester, we will put original monologues and deepen your communication skills, and to strengthen scenes on camera. We will use a monitor playback your natural sense of humor. We will study the works system for reviewing work to help identify specific of Viola Spolin, Keith Johnstone, Upright Citizens problems. Class size is limited. This class meets twice Brigade, and Second City. This class will meet once a a week week.

The Actor’s Laboratory Comedy Workshop Christine Farrell Christine Farrell Intermediate, Component—Year Intermediate/Advanced, Component—Fall An exploration of the classic structures of comedy This class is a laboratory for the actor; it is designed and the unique comic mind, this course begins with for actors with some experience and who are ready it a strong focus on improvisation and ensemble to search for the steps to a fully involved work. The athletics of the creative comedic mind is performance. We will explore the theories and the primary objective of the first-semester exercises. techniques of Stanislavski and Grotowski. We will Status play, narrative storytelling, and the Harold read Stanislavski in Rehearsal, by Vasili Torporkov, exercise are used to develop the artist’s freedom and and At Work with Grotowski on Physical Action, by confidence. The ensemble learns to trust the Thomas Richards. Throughout the semester, each spontaneous response and their own comic student will work on one 10-minute scene from a madness. Second semester educates the theatre major playwright. This class will meet twice a week. artist in the theories of comedy and is designed to introduce students to commedia dell’arte, vaudeville, parody, satire, and standup comedy. At the end of the THE CURRICULUM 153 second semester, each student will write five Lampoon Mainstage performance in the style of minutes of standup material that will be performed Second City or Saturday Night Live. This class meets one night at a comedy club in New York City and then once a week a week for three hours. Interview and on the College campus on Comedy Night. This class audition required. meets twice a week. Spring instructor TBA Directing, Devising, Performance, Creating a Role Movement & Voice Ernest H. Abuba Open, Component—Year Directing Workshop It is a sanctum of discovery, enabling the actor to William D. McRee explore non-Western movement: centering energy, Open, Component—Year concentration, the voice, and the “mythos” of a Directors will study the processes necessary to bring character to discover one’s own truth in relation to a written text to life, along with the methods and the text, both contemporary and the classics. goals used in working with actors to focus and Traditional as well as alternative approaches to strengthen their performances. Scene work and acting techniques are applied. Fall semester short plays will be performed in class, and the concentrates on roles: Hamlet, Leontes, Caliban, student’s work will be analyzed and evaluated. Othello, Lear, Macbeth, Richard III, Hecuba, Medea, Common directing problems will be addressed, and Antigone,Lady Anne,Tamara, Portia, Lady Macbeth; the directors will become familiar with the spring semester, applied to scene study from works conceptual process that allows them to think by Chekhov, Ibsen, Arrabal, Beckett, Ionesco, Sarah creatively. The workshop is open to beginning Kane, Amira Baraka, Edward Albee, and Jean Genet. directors and any interested student. This class Required reading: The Art of Acting, by Stella Adler. meets twice a week. This class meets twice a week.

Singing Workshop DIRECTING/BRECHTING Kevin Confoy William D. McRee, Thomas Mandel Open, Component—Fall Open, Component—Year An approach to directing that uses the works of We will explore the actor’s performance with songs Bertolt Brecht—and those he deeply influenced—as in various styles of popular music, music for theatre, the foundation for a distinct production style fuses cabaret, and original work—emphasizing dynamic texts, metastaging techniques, and Brecht’s communication with the audience and material deep desire for theatre to be a tool for social change. selection. Dynamics of vocal interpretation and style Students will analyze plays by Brecht and will also be examined. Students perform new or playwrights that might include Thornton Wilder, returning material each week in class and have Larry Kramer, Moises Kaufman, Anna Deavere Smith, outside class time scheduled with the musical and Paula Vogel, among others. We will also look at director to arrange and rehearse their material. plays and playwrights who influenced Brecht’s own Students enrolled in this course also have priority writing. Students in DIRECTING/BRECHTING will direct placement for voice lessons with faculty in the short scenes and moments from chosen plays, music program and enrollment in Alexander conduct mock production meetings, and present full Technique classes or other movement courses of production proposals. This class will meet twice a their choosing. This class meets once a week. week. Audition required.

SLC Lampoon Directing the 20th Century: From Faculty TBA Chekhov to Churchill Advanced, Component—Year Will Frears SLC Lampoon is a comedy ensemble of actors, Intermediate, Component—Year directors, and writers. The techniques of Second City This class will focus on directing plays in the 20th- and TheaterSports will be used to create an century canon, covering a range of styles and improvisational troupe that will perform throughout content. The class will cover the whole journey of the campus. The ensemble will craft comic directing a play, with a strong emphasis on practical characters and write sketches, parodies, and work. Students will be required to bring in design political satire. This work will culminate in a final SLC research for plays and to direct scenes from the 154 Theatre plays, both of which they will present to the class for performing songs and monologues in a supportive critique. The class will focus on how to use the text atmosphere. This class meets once a week. One to inform the choices made by the director. This section. class meets twice a week. Introduction to Stage Combat Director’s Conference Sterling Swann Will Frears Open, Component—Year Open, Component—Fall Students learn the basics of armed and unarmed Director’s Conference takes student directors stage fighting, with an emphasis on safety. Actors through the course of full production, from prep to are taught to create effective stage violence, from postmortem: how to have an idea and put it on stage, hair pulling and choking to sword fighting, with a and how to cut and rework. Students will work on minimum of risk. Basic techniques are incorporated preproduction (ground plans, rehearsal schedules, into short scenes to give students experience casting, research) through the rehearsal process performing fights in both classic and modern (strategies, time management, communication, contexts. Each semester culminates in a skills making changes, tech) and, at the end of the proficiency test aimed at certification in one of eight semester, submit a production casebook weapon forms. This class meets once a week. Two demonstrating their work on the production and an sections of this course. assessment of their final product and process. Mandatory for students directing Mainstage Advanced Stage Combat productions. This class meets once a week, either in a group or as an individual conference. Sterling Swann Intermediate, Component—Year This course is a continuation of Introduction to Stage Alexander Technique Combat and offers additional training in more June Ekman complex weapons forms, such as rapier and dagger, Open, Component—Year single sword, and small sword. Students receive The Alexander Technique is a neuromuscular system training as fight aptc ains and have the opportunity that enables the student to identify and change poor to take additional skills proficiency tests, leading to and inefficient habits that yma be causing stress actor/combatant status in the Society of American and fatigue. With gentle, hands-on guidance and Fight Directors This class meets once a week. verbal instruction, the student learns to replace faulty habits with improved coordination by locating Movement for Performance and releasing undue muscular tensions. This includes easing of the breath and the effect of Faculty TBA coordinated breathing on the voice. It is an Open, Component—Year invaluable technique that connects the actor to his This class will explore the full instrument of the or her resources for dramatic intent This class meets performer; namely, the human body. A daily warmup once a week. Audition required. Four sections of this will open the body to larger movement ranges while class. introducing students to a better functioning alignment, efficient muscle and energy use, full breathing, clear weight transfer, and increased Breathing Coordination for the awareness while traveling through space. A Performer combination of improvisation, contact improvisation, Sterling Swann set phrases, and in-class assignments creating Open, Component—Year short, movement-based pieces will be used to Students improve their vocal power and ease explore a larger range of articulation that the body through an understanding of basic breathing reveals regardless of the words spoken on stage. In mechanics and anatomy. Utilizing recent discoveries all aspects, the goals of this class are to enable of breathing coordination, performers can achieve students to be courageous with their physical selves, their true potential by freeing their voices, reducing more articulate with their bodies, and more tension, and increasing vocal stamina. In the second personally expressive in performance. No movement semester, principals of the Alexander Technique are background is required—just a healthy mix of introduced; students consolidate their progress by curiosity and courage. In addition to occasional reading handouts, there will be opportunities to attend rehearsals and performances of professional THE CURRICULUM 155 theatre and dance in New York City. Please wear by hand as well as working as a wardrobe technician. loose, comfortable clothing. This class meets twice a Students will have the opportunity to assist a week. costume designer on one of the departmental productions to further their understanding of the Music as Theatre Lab design process. No previous experience is necessary. Actors, directors, designers and theatre makers of all Stew Stewart kinds are welcome. This class meets once a week. Open, Component—Year This lab is open to any artists committed to exploring a variety of music-driven, song-centric, spirit- Costume Design II derived approaches to music-theatre creation. Music Liz Prince as Theatre Lab invites students into an investigation Intermediate, Component—Year of the work of prophets, faith healers, and wild This course expands upon Costume Design l to hone politicians—as well as blues, gospel, and old-school and advance existing skill sets in both design and rock-and-roll artists. Commitment to risk-as-truth, construction as we cover and review a range of with an eye toward creating pieces and topics. Students will explore theoretical design performances that conjure transcendence, is a projects, as well as have the likely opportunity to founding principle of the Lab. Students will work in design a departmental production, further evershifting teams to create and perform short developing the student’s abilities as they research pieces; e.g., scenes, sermons, songs, or situations and realize a design concept for the stage in that include set and costume designs, choreography, collaboration with the director and design team. and video. This lab will also feature an ongoing Prerequisite: Costume Design l or by permission of the “compare and contrast” investigation of rock music instructor. This class meets once a week. and show tunes, with an emphasis on what we have to learn about acting and singing effectively from Lighting Design I those differences. This class meets once a week for four hours. Greg MacPherson Open, Component—Year Lighting Design I will introduce the student to the Voice and Speech I: Vocal Practice basic elements of stage lighting, including tools and Francine Zerfas equipment, color theory, reading scripts for design Component—Year elements, operation of lighting consoles and This course will focus on awakening the young artist construction of lighting cues, and basic elements of to the expressive range of the human voice, as well lighting drawings and schedules. Students will be as to the intricacies of developing greater clarity of offered hands-on experience in hanging and speech and playing with sound. A thorough warmup focusing lighting instruments and will be invited to will be developed to bring power, flexibility, and attend technical rehearsals. They will have range to the actor’s voice and speech. Exercises and opportunities to design productions and to assist text work will be explored, with the goal of uniting other designers as a way of developing a greater body, breath, voice, and speech into an expressive understanding of the design process. This class whole when acting. This class meets once a week for meets once a week. two hours. Lighting Design II Design and Media Greg MacPherson Intermediate, Component—Year Costume Design I Lighting Design II will build on the basics introduced Liz Prince in Lighting Design I to help develop the students’ Open, Component—Year abilities in designing complex productions. The This course is an introduction to the basics of course will focus primarily on CAD and other designing costumes and covers ideas about the computer programs related to lighting design, script language of clothes, script analysis, the elements of analysis, advanced console operation, and design, color theory, fashion history, and figure communication with directors and other designers. drawing. We will work on various theoretical design Students will be expected to design actual projects while exploring how to develop a design productions and in-class projects for evaluation and concept. This course also covers various design- discussion and will be offered the opportunity to room techniques, including stitching by machine and 156 Theatre increase their experience in design by assisting Mr. Directing, Devising, and MacPherson and others, when possible. This class Performance: Devising With Media meets once a week. Tei Blow, David Neumann Open, Component—Year Scenic Design I Through the creative reuse of mass media, this Lake Simons course is designed to introduce students to a Open, Component—Year performance strategy based on sampling existing This course introduces basic elements of scenic text, video, and sound. By stripping found media design, including developing a design concept, materials from their original context and arranging drafting, and practical techniques for creating them in new ways, participants will explore the theatrical space. Students will develop tools to methods and politics of appropriation in communicate their visual ideas through research, performance work. By then extending those sketches, and models. The class will discuss techniques into embodied practices, students will examples of design from theatre, dance, and experiment with various methods of extracting puppetry. Student projects will include both movement, text, and intention from those source conceptual designs and production work in the materials. Biweekly workshops on text, sound, and department This class meets once a week. There is a video manipulation in a collaborative format will $50 course fee. alternate with experiments in performance composition and lectures on the historical use of Sound Design I: Intro to Sound appropriation in a variety of art forms. Participants should have an interest in both performance and Design performance technology, though experience in either Tei Blow is not a prerequisite. Each semester of the course Open, Component—Year culminates in a major performance project. This This course serves as an introduction to theatrical class meets once a week for two hours. sound design that explores the theory of sound, basic design principles, editing and playback software, content creation, and basic system design. LIVE MEDIA: Creating Hybrid The course examines the function and execution of Performance With Technology sound in theatre, cinema, and interdisciplinary Tei Blow forms. Through field ecr ording, sampling, nonlinear Open, Component—Year audio editing, and performance software, students This class will prepare students to solve problems in will learn the basic tools needed to build and execute sound and multimedia production for live sound designs for theatre and audio installations. performance. We will look at the creative use of live Students will be assigned to design a current video and audio playback and processing, theatrical production in the second semester of the multichannel sound, and interactive performance course. This class meets once a week. systems. The course is composed of technical demonstrations and short-form group performance Puppet Theatre assignments involving technology. The course is designed for theatre grads working with technology Lake Simons in Grad Solos but is suitable for any students working Open, Component—Year on independent performance work with technology. This course will explore a variety of puppetry Participants interested in this course should be techniques, including bunraku style, marionette, prepared to design and execute at least two short- shadow puppetry, and toy theatre. We will begin with form performance works or media installations over a detailed look at these forms through individual and the course of the academic year. Participants group research projects. We will further our interested in this course should be prepared to exploration with hands-on learning in various collaboratively design the projection elements for a techniques of construction. Students will then have performance or installation in the second semester. the opportunity to develop their own manipulation This class meets once a week. skills, as well as to gain an understanding of how to prepare the puppeteer’s body for performance. The class will culminate with the creation and presentation of puppetry pieces of students’ own making. This class meets once a week for two hours. THE CURRICULUM 157 Introduction to Projection Design Experiments in Language and Tei Blow Form Open, Component—Year Cassandra Medley This course is an introduction to theatrical Advanced, Component—Year projection design that explores design principles, In this class, we focus on writing “experimental content creation, video editing, media server and theatre”; that is, we experiment with theatrical playback software, basic projection system design, forms that extend beyond traditional portrayals of and digital show control. Through text analysis, time, three-dimensional space, language, character, visual research, and lab experiments, the course and dramatic structure to discover the impact that examines the role of video projection in theatre and different types of onstage presentations might have interdisciplinary forms and prepares participants to on audiences. We are not interested in imitating the create video designs for their own work and to style of “experimental” playwrights but, rather, integrate video with other media. This class meets using their texts as influence, stimulus, and once a week. encouragement as we attempt our own “experiments.” We will also style experimental texts Playwriting to ascertain the types of environments—political, spiritual, mental, social—that influenced such texts to be generated; that is, created. Our aim, first and Creative Impulse: The Process of foremost, is to investigate and explore ways to Writing for the Stage genuinely investigate and give theatrical expression Sibyl Kempson to our own personal, political, and spiritual interior Advanced, Component—Year lives, values, observations, and beliefs. We will then In this course, the vectors of pure creative impulse strive to examine the most effective manner of hold sway over the process of writing for the communicating our theatrical experiments to an stage—and we write ourselves into unknown audience. Our experimental writing may include territory. Students are encouraged to set aside multimedia presentations as part of the scripted received and preconceived notions of what it means onstage play or performance. This class meets once a to write plays or to be a writer, along with ideas of week for four hours (with a lunch break). what a play is “supposed to” or “should” look like, in order to locate their own authentic ways of seeing Writer’s Gym and making. In other words, disarming the rational, the judgmental thinking that is rooted in a concept Cassandra Medley of a final product and empowering the chaotic, Open, Component—Year spatial, associative processes that put us in You can’t wait for inspiration; you have to go after it immediate formal contact with our direct with a club. —Jack London experience, impressions, and perceptions of reality. Writer’s Gym is a yearlong writing workshop Emphasis on detail, texture, and contiguity will be designed for writers of any genre and any level of favored over the more widely accepted, reliable, yet experience from beginner to advanced. Our focus is sometimes limiting Aristotelian virtues of structure on writing exercises that develop characters and and continuity in the making of meaningful live stories—whether for the stage, screen, or prose performance. Readings will be tailored to fit the narration. In addition, we study theories about the thinking of the class. We will likely look at nature of creativity. Our goals are as follows: to study theoretical and creative writings of Gertrude Stein, writing methods that help to inspire, nurture, George Steiner, Mac Wellman, Maria Irene Fornes, encourage, and sustain our urge/need to write; to Adrienne Kennedy, Mircea Eliade, Kristen Kosmas, learn how to transform personal experiences and Richard Maxwell, and Roland Barthes, as well as observations into imaginative dramatic and/or prose work that crosses into visual-art realms and radical fiction or poetic metaphor and imagery; to scientific thought rf om physicists David Bohm and F. concentrate on building the inner lives of our David Peat. The course will be conducted in characters through in-depth character work in order workshop fashion, with strong emphasis on the to create stronger stories; to explore—that is to say, tracking and documenting of process. This class investigate and gain access to our spontaneous meets once a week for three hours. Two sections of ideas; to articulate and gain a more conscious this class. relationship to the “inner territory” from which we draw ideas; to confront issues that block the writing 158 Theatre process; and to gain greater confidence in relation to Playwright’s Workshop revision as we pursue clarification of the work. This Stuart Spencer class meets once a week. Advanced, Component—Year Who are you as a writer? What do you write about, Medley Workshop: Developing the and why? Are you writing the play that you want to Dramatic Idea write or the play that you need to write? Where is the Cassandra Medley nexus between the amorphous, subconscious Intermediate, Component—Year wellspring of the material and the rigorous demands The purpose of this workshop is to develop and of a form that will play in real time before a live complete a draft of a final project play of any length. audience? This course is designed for playwriting Our focus is on originating character-driven stories students who have a solid knowledge of dramatic that involve multiple events and/or multiple turning structure and an understanding of their own points and revelations, concluding with a major creative process—and who are ready to create a crisis and/or consequence for the characters. From complete dramatic work of any length. (As Edward the very beginning of the semester, writers create Albee observed, “All plays are full-length plays.”) several short drafts of “mini-plays,” as we practice Students will be free to work on themes, subjects, the components that lead to effective playwriting. and styles of their choice. Work will be read aloud Writers allow various characters, topics, and and discussed in class each week. The course concerns to be revealed to them as their in-process requires that students enter, at minimum, with an project(s) take shape. We will also study a selection idea of the play that they plan to work on; ideally, of full-length plays and/or screenplays for they will bring in a partial draft or even a completed inspiration, guidance, and analysis of various draft that they wish to revise. We will read some contemporary styles of drama. Styles may be varied; existent texts, time allowing. This class meets twice but as dramatists, we are all challenged by a form of a week. storytelling that requires us to try and hold the public attention of an audience for a condensed Theatre Outreach, Theatre History, length of “real” time in a public space. This class and Production meets once a week. Theatre Outreach Projects: Playwriting Techniques Connections to Community Stuart Spencer Allen Lang Open, Component—Year Intermediate/Advanced, Component—Year You will investigate the mystery of how to release This advanced course will provide a strong your creative process while also discovering the foundation from which to explore and extend fundamentals of dramatic structure that will help teaching and theatre-making skills in the you tell the story of your play. Each week in the first community. With an interest in exploring personally term, you will write a short scene taken from The expressive material and in extending and developing Playwright’s Guidebook, which we will use as a basic skills, students will find a practical approach to text. At the end of the first erm,t you will write a experiential learning that grows teaching skills short but complete play based on one of these short through a weekly community placement. Placements assignments. In the second term, you’ll go on to are usually yearlong and typically culminate in a adapt a short story of your choice and then write a process-over-product, informal presentation that is play based on a historical character, event, or period. reflective of the interests, stories, and experiences The focus in all instances is on the writer’s deepest of the individual participants. Students will explore connection to the material—where the drama lies. collaborating with partnerships at schools, libraries, Work will be read aloud in class and discussed in museums, community centers, prisons, and class each week. Students will also read and discuss downtown Yonkers storefronts and other venues to plays that mirror the challenges presented by their develop original work that will result as a creative own assignments. This course meets once a week. forum—with performances concluding in a talk- Two sections of this course. back environ of historical and contemporary social- political and artistic issues as applied to community work. Class readings and discussions will explore theoretical and practical discussions about theatre making and sharing theatre skills in the 21st century THE CURRICULUM 159 that will examine the role of creative artists working and forces that play upon us now. Among the list of in the community to bring forth social change. playwrights whose works may be read and discussed Exploring gender and open to all races and ethnicity, are Annie Baker, Paula Vogel, Branden Jacob-Jenkins, students will work toward the development of a Ayad Akhtar, Lynn Nottage, Will Eno, Olivia Dufault, creative ensemble of Sarah Lawrence College Rajiv Joseph, and David Henry Hwang, among others. theatre artists. Class readings and discussions will NOW PLAYING addresses the relevance of theatre in explore LGBTQ, African American, Latino/Hispanic, the 21st century. Do plays matter? Has the form been and Asian/Asian American artistic contributions, and exhausted? Or is there a need now, more than ever, that will provide a strong foundation from which to for what theatre can distinctly provide? NOW create new work. Focusing on local, national, and PLAYING is a one-semester, discussion-based world issues as they pertain to our own experiences, seminar. Portions of plays will be read aloud in class first-semester work will culminate in an informal to facilitate discussions. This class meets twice a workshop presentation and discussion session at a week. Yonkers high school. Second-semester class work will culminate in a touring show for the HS Lunchbox History and Histrionics: A History Group and intergenerational work with the 50+ Lunchbox Group. First-semester course work will of Western Theatre include a Yonkers tour that visits the Yonkers Stuart Spencer Downtown Waterfront, as well as important Yonkers Open, Component—Year cultural attractions. The class is open to all students You will explore 2,500 years of Western drama to who want to explore personal material through a discover how dramaturgical ideas can be traced sociopolitical lens. Open to dancers, poets, from their origins in fifth-century Greece to 20th- playwrights, actors, and visual artists. Educator John century Nigeria, with many stops in between. We will Paul Lederach asks the artist to connect with the try to understand how a play is constructed rather “moral imagination”—the ability to “stay grounded than simply written and how how each succeeding in the here and now, with all its violence and epoch has both embraced and rejected what has injustice, while still imagining and working toward a come before it in order to create its own unique more life-affirmingorld. w ” This class meets once a identity. We will study the major genres of Western week. drama, including the idea of a classically structured play, Elizabethan drama, neoclassicism, realism, naturalism, expressionism, comedy, musical theatre, Crisis Mode: Theatre at War theatre of cruelty, and existentialism. And we will Kevin Confoy look at the social, cultural, architectural, and Open, Component—Fall biographical context to better understand how and This class examines how theatre has responded to why they were written as they were. Classroom those moments of the past 50 years that define the discussion will focus on a new play each week. This struggles of a generation. Students will read and class meets twice a week. discuss a variety of plays from a list of playwrights that may include Brecht, Beckett, Fugard, Anna Deavere Smith, Wole Soyinka, Eve Ensler, Larry Global Theatre: The Syncretic Kramer, Dael Orlandersmith, and August Wilson, Journey among others. Documentary films that eprr esent Ernest H. Abuba, Mia Yoo, David Diamond distinct points of view on the same struggles will be Open, Component—Year shown throughout the semester. Plays will be Good evening, ladies and gentlemen, and welcome to supplemented with nonfiction eadings.r Theatre at La MaMa, dedicated to the playwright and to all War is a discussion-based seminar. Portions of plays aspects of the theatre. — Ellen Stewart will be read aloud for discussion purposes. This class meets twice a week. La MaMa Experimental Theatre Club in New York City has been the host of contemporary and international theatre artists for 55 years. You will have the NOW PLAYING: Theatre at This opportunity to attend performances, meet the Moment artists, and participate in workshops led by them, as Kevin Confoy well as have access to the La MaMa archives on the Open, Component—Fall history of international theatre in New York. Your This course looks at playwright theatre makers personal “syncretic theatre journey” is enhanced by whose works are in direct response to the events the observance of fellow theatre makers and oneself 160 Theatre that is informed concretely by the application of deconstructs marriage, intimacy, and friendship; and text, research, movement, music, design, puppetry, Follies, a meditation on mortality and time itself. This and multimedia, as well as social and political course meets twice a week. debate in class. Coordinators of the LaMaMa International Symposium for Directors, David Far-Off, Off-Off, Off, and On Diamond and Mia Yoo, will host you in New York City, where you will exchange ideas with visiting and local Broadway: Experiencing the artists: Yara Arts Group and artists of the Great Jones 2018–2019 Theatre Season Repertory Theatre. Historical/contemporary William D. McRee experimental texts will be discussed, such as: Open, Component—Year Psychosis by Sarah Kane, Death and the Kings Weekly class meetings in which productions are Horseman by Wole Soyinka, Strange Interlude by analyzed and discussed will be supplemented by Eugene O’Neill, The Caucasian Chalk Circle by Bertolt regular visits to many of the theatrical productions Brecht, A Dream Play by August Strindberg, of the current season. The class will travel within Thunderstorm by Cao Yu, Goshram Kwotal by Vijay the tristate area, attending theatre in as many Tendulkar, Venus by Susan-Lori Parks, Ruined by Lynn diverse venues, forms, and styles as possible. Nottage, Mistero Buffo by Dario Fo, as well as Published plays will be studied in advance of Fernando Arrabal, Antonin Artaud, and Martin Crimp. attending performances; new or unscripted works Required reading: TBA This course is a theatre history will be preceded by examinations of previous work component in the theatre program. This class meets by the author or company. Students will be given once a week. access to all available group discounts in purchasing tickets. This class meets once a week. The Broadway Musical: Something Great is Coming DownStage Stuart Spencer Graeme Gillis Intermediate, Component—Year Sophomore and above, Component—Year For some 60 years, roughly from 1920 to 1980, the DownStage is an intensive, hands-on conference in Broadway musical was in its Golden Age. The theatrical production. DownStage student producers subjects were for adults, the lyrics were for the administrate and run their own theatre company. literate, and the music had a richness and depth of They are responsible for all aspects of production, expression never since equaled in American including determining the budget and marketing an composition. That music evolved from three entire season of events and productions. Student separate strands—Jewish, African, and producers are expected to fill a variety of positions, European—and the libretti sprung from a great both technical and artistic, and to sit as members of vibrant stew that included vaudeville, burlesque, the board of directors of a functioning theatre operetta, minstrel shows, musical comedy-farce, and organization. In addition to their obligations to class musical extravaganza. We’ll study how these widely and designated productions, DownStage producers disparate forms began to coalesce in the 1920s into are expected to hold regular office hours. Prior the quintessentially brash, toe-tapping, effervescent producing experience is not required. This class Broadway form known as “musical comedy.” Then meets twice a week. we’ll watch as Oscar Hammerstein II, paired with a new collaborator, Richard Rodgers, revolutionized Internship Conference the form with the so-called “integrated musical.” Neelam Vaswani Beginning with Oklahoma!, R&H (as they were Intermediate, Component—Year universally known) insisted on putting the story first For students who wish to pursue a professional and making the songs—along with everything internship as part of their program, all areas of else—serve that story. The inevitable apotheosis of producing and administration are possible: their efforts is the musical play of the 1950s, and production, marketing, advertising, casting, we’ll end this section by looking at several of them. development, etc. Students must have at least one Finally, the musical showed yet another face: the day each week to devote to the internship. Through “concept musical”—Broadway’s answer to cubist individual meetings, we will best determine each painting. It took a subject and looked at it from every student’s placement to meet individual academic conceivable angle except one: a plot. We’ll end the and artistic goals. year by looking at Stephen Sondheim’s two great concept musical masterpieces: Company, which THE CURRICULUM 161 Production Workshop Theatre students may be invited to Robert Lyons participate in outside programs, Component—Fall and Spring including: The creative director of the theatre program will lead a discussion group for all of the directors, assistant directors, and playwrights participating in London Theatre Program the fall theatre season (including readings, Seminar workshops, and productions). This is an opportunity Sponsored by Sarah Lawrence College and the British for students to discuss with their peers the process, American Drama Academy (BADA), the London problems, and pleasures of making theatre at Sarah Theatre Program offers undergraduates from Sarah Lawrence College (and beyond). This workshop is Lawrence an opportunity to work and study with part problem-solving and part support group, with leading actors and directors from the world of the emphasis on problem-solving. This course is British theatre. The program offers acting classes required for directing, assistant directing, and with leading artists from the British stage. Classes playwriting students whose productions are included are complemented by individual tutorials, where in the fall 2018 and spring 2019 theatre program students will work one-on-one with their teachers. A seasons. This class meets once a week. faculty selected from Britain’s foremost drama schools teaches technical classes in voice, movement, and stage fighting. This intense Stage Management conservatory training is accompanied by courses in Greta Minsky, Neelam Vaswani theatre history and theatre criticism, tickets to Open, Component—Year productions, and the experience of performing in a This course is a hands-on laboratory class in the professional theatre. In addition, master classes and skills, practices, and attitudes that help a stage workshops feature more of Britain’s fine actors and manager organize an environment in which a directors. Designed for dedicated students who wish theatrical team can work together productively and to study acting in London, the program offers with minimum stress. Classroom exercises and enrollment in either the fall or spring semester for discussion augment the mentored production work single-semester study. Those wishing to pursue their that is assigned to each student. Script analysis, training more intensely are strongly encouraged to blocking notation, prop management, and cue begin their training in the fall and continue with the writing/calling are among the topics covered. Advanced London Theatre Program in the spring Knowledge of and practice in stage management are semester. Audition required. essential tools for directors and useful supplements for actors and designers. This class meets once a week during the fall semester and is taught by Ms. La MaMa E.T.C. Minsky. Spring semester is taught by Ms. Vaswani and Intersession—Summer is devoted to mentored production practicums. La MaMa E.T.C. sponsors two summer events in Umbria, Italy, in conjunction with Sarah Lawrence College: International Symposium for Directors, a Tools of the Trade three-week training program for professional Robert Gould directors, choreographers, and actors in which Open, Component—Year internationally renowned theatre artists conduct This is a stagehand course that focuses on the nuts workshops and lecture/demonstrations; and and bolts of light-board and sound-board operation International Playwright Retreat, a one-week and projection technology, as well as the use of program where participants have ample time to basic stage carpentry. This is not a design class but, work on new or existing material. Each day, an rather, a class about reading, drafting and light award-winning playwright will meet with the plots, assembly and troubleshooting, and basic playwrights to facilitate discussions, workshops, and electrical repair. Students who take this course will exercises designed to help the writers with whatever be eligible for additional paid work as technical challenges they are facing. For more information: assistants in the theatre department. This class lamama.org/programs/la-mama-umbria meets once a week. 162 Urban Studies Other courses of interest are listed below. Full Courses offered in related disciplines this year are descriptions of the courses may be found under the listed below. Full descriptions of the courses may be appropriate disciplines. found under the appropriate disciplines. Digital 2D Animation: Shorts (p. 50), Robin Starbuck First-Year Studies: How Things Talk: The Linguistic Filmmaking and Moving Image Arts Materialities of Late Capitalism (p. 4), Aurora Experimental Film and Animation (p. 51), Robin Donzelli Anthropology Starbuck Filmmaking and Moving Image Arts Language Matters: Exploring the Cultural Grammars Less is More: On Camera Performance (p. 54), Doug of Capitalism (p. 7), Aurora Donzelli MacHugh Filmmaking and Moving Image Arts Anthropology Advanced Projects In Writing for the Screen (p. 53), Paris, City of Light and Violence (p. 4), Robert R. Frederick Michael Strype Filmmaking and Desjarlais Anthropology Moving Image Arts Specters of the Subject: Hauntologies of Ghosts, Intermediate III: Advanced French: French Women Phantasms, and Imaginings in Contemporary Writers and Molière in 17th-Century Life (p. 7), Robert R. Desjarlais Anthropology France (p. 58), Eric Leveau French Understanding Experience: Phenomenological Theatre in America I: The Golden Age (p. 89), Joseph Approaches in Anthropology (p. 5), Robert R. Lauinger Literature Desjarlais Anthropology Theatre in America II: The Age of Revolt (p. 90), Spaces of Exclusion, Places of Belonging (p. 6), Joseph Lauinger Literature Deanna Barenboim Anthropology 17th-Century British Literature (p. 88), William “A Talent for Every Noble Thing”: Art, Architecture in Shullenberger Literature Italy, 1300-1600 (p. 11), Joseph C. Forte Art The Philosophy of Tragedy (p. 112), Michael Davis History Philosophy Architectures of the Future, 1780 to the Poetry: What Holds The Unsayable (p. 182), Marie Present (p. 11), Joseph C. Forte Art History Howe Writing First-Year Studies: Cultivating Creativity in Dance, Gardening, and Food Justice: A First-Year Studies Community Partnership (p. 31), Peggy Gould Dance URBAN STUDIES Econometric Analysis: Structural Explorations in the Social Sciences (p. 38), Jamee K. Moudud Urban studies is dedicated to the study of cities Economics across disciplines, focusing on the fabric of cities Microeconomic Theory and Policy: Advanced and the culture, society, and economy particular to Topics (p. 40), Jamee K. Moudud Economics cities and to those who live within them. Some of the Resource Economics and Political Ecology (p. 39), topics that urban studies may explore are the John Casey Nicolarsen Economics histories of cities; space, design, and power; cities Introduction to Property: Cultural and Environmental and suburbia; the city and the country; megacities; Perspectives (p. 42), Charles Zerner casino urbanization; cities remembered (memoirs Environmental Studies based on urban space); and cities of the future (real Landscapes in Translation: Cartographies, Visions, and science-fiction cities). Among the many themes and Interventions (p. 42), Charles Zerner addressed in urban studies are space and sociability, Environmental Studies including urban planning, public and private space, Documentary Filmmaking: Truth, Freedom, and social relations and structures, the right to city Bearing Witness (p. 47), Damani Baker space, gender and power, urban social movements, Filmmaking and Moving Image Arts and public art. Among the many disciplines that Food, Agriculture, Environment, and offer courses related to urban studies are Development (p. 61), Joshua Muldavin anthropology, architecture, economics, Geography environmental studies, politics, public policy, and Introduction to Development Studies: The Political sociology. Ecology of Development (p. 62), Joshua Muldavin Geography The Blues Ethos and Jazz Aesthetics: A History of African Americans in the City (p. 73), Komozi Woodard History THE CURRICULUM 163

The Price of Citizenship: A History of Poverty and from 10 offerings annually. In some visual-arts Public Policy in the United States (p. 68), courses, a particular workshop will be required. This Komozi Woodard History recently developed program expands students’ Diversity and Equity in Education: Issues of Gender, technical skills and enables them to utilize different Race, and Class (p. 76), Nadeen M. Thomas media in the development of their work. Workshops History are open to students of any visual-arts medium, Community and Civility (p. 121), Samuel Abrams promoting even more interaction and understanding Politics across disciplinary boundaries and furthering the Advanced Research Seminar (p. 133), Kim Ferguson College’s overall emphasis on interdisciplinary work (Kim Johnson) , Elizabeth Johnston , Linwood J. The Heimbold Center, a high-performance Lewis Psychology “green” building, embodies an environmentally Intensive Semester in Yonkers: Inequalities and friendly approach that features safe alternatives to Opportunities in Yonkers: Integrating Theory, toxic materials, special venting systems, and an Research, Policy, and Practice (p. 130), Kim abundance of natural light. In addition to well- Ferguson (Kim Johnson) Psychology equipped, open-space studios, individual ateliers, Food Environments, Health, and Social and digital technology in every studio and classroom, Justice (p. 128), Magdalena Ornstein-Sloan the building also includes space for welding, Psychology woodworking, and clay and mold making; a common Informality and Precariousness in the City: Family, darkroom, digital imaging lab, and critique rooms; Home, and the Politics of Transnational and a sound studio, screening room, and large Life (p. 146), Parthiban Muniandy Sociology exhibition area. The Center’s doors open onto a Marx and Marxisms: Lineages and Contemporary miniquad, allowing students from throughout the Relevance (p. 147), Shahnaz Rouse Sociology College both access to and inspiration from their First-Year Studies: The New Narrative peers’ works-in-progress. Photography (p. 165), Joel Sternfeld Visual and The visual-arts curriculum is reflected in—but Studio Arts not confined o—thet Heimbold Center’s visual-arts The Ideas of Photography (p. 170), Joel Sternfeld facilities. The building also houses courses in visual Visual and Studio Arts culture, increasing the integration of the creative What’s the Story? A Radio Journalism Class (p. 178), arts and the humanities. The College’s proximity to Sally Herships Writing New York City brings recognized artists to campus to lecture and also gives the students the opportunity to visit hundreds of galleries and some of the world’s major museums. VISUAL AND STUDIO ARTS Faculty members are working artists who believe in the intrinsic value—for all students—of Students enrolled in a visual and studio arts course creative work in the visual arts, the inseparable at Sarah Lawrence College work in a new connection of the creative arts and the liberal arts, environment created to support the College’s unique and the necessity of art in life. All visual-arts faculty arts pedagogy: a philosophy of teaching that not only and their students have access to technicians, based encourages individual investigation into the nature in the Heimbold Center, who can provide technical of the creative process but also provides a setting to support in most areas. foster the exchange of ideas across artistic In 2018-19, various workshops in the visual-arts disciplines. disciplines will be offered that serve to broaden While courses are taught in the traditional students’ vocabulary and technical skills. In the past, seminar/conference format, the Monika A. and workshops in Metalworking, Letterpress, Web Design, Charles A. Heimbold, Jr. Visual Arts Center is Drawing, Water Color, Woodworking, Artist Books, specifically designed to break down barriers among Final Cut, Sculpture Methods, and Photoshop have visual-arts media. The Center features ateliers that been offered. give each student an individual work area for the year, while its open classrooms and movable walls encourage students to see and experience the work of their peers in painting, sculpture, photography, filmmaking, printmaking, drawing, visual fundamentals, and digital imagery. Students may enhance their work in a chosen discipline by enrolling in a workshop—a minicourse—selected 164 Visual and Studio Arts Architectural Design Studio: Architectural Design Studio: Animating Fragments —From Collecting, Combining, Collaging Waste Streams to the Public Architecture—and Other Acts of Realm Radical Reuse Ivi Diamantopoulou Ivi Diamantopoulou Open, Seminar—Spring Open, Seminar—Fall This one-semester studio will provide an This one-semester studio will provide an introduction to design in the built introduction to design in the built environment—from objects to buildings to public environment—from objects to spaces, buildings, and spaces—through the lens of reuse. In this vibrant campuses—through the lens of reuse. At a time of time of architecture production in New York City, the both unprecedented clutter and increasing scarcity, byproducts of high-end construction are piling up. we will take on design as an act of negotiation We will investigate this waste, including discarded between what is found, what is available, and what materials and full-scale mockups, to understand is imagined. In other words, we will make how we might give it new life. Simultaneously, we architecture from the architecture that surrounds will explore the city’s proliferating network of open us: harness its materials, reimagine its form, and and accessible green spaces in order to imagine new consider its use. Students will begin the semester kinds of symbiotic relationships between the two doing field esearr ch on local spaces and spatial through the design of accessory structures that tap conditions, working through fundamental issues of into these waste streams. Students will begin the scale and representation to establish the base semester researching the production of urban material for individual design projects. From there, developments and open-air public spaces in New we will outline a basic design methodology, York City, which will establish the base material for combining material research with investigations into individual design projects. From there, we will form, organization, and program. In all areas of outline a basic design methodology, combining design, students are encouraged to think through building technology with community needs and critical, precise, and irreverent acts of reuse as a investigations into typology, form, and program. In means through which to propose new and possible all areas of design, students are encouraged to think futures for the worlds around them. Experience with through critical, precise, and irreverent acts of reuse drawing, modeling, and other analog or digital as a means through which to propose new and design media is helpful but not required. possible futures for the worlds around them. First-Year Studies: New Genres: Sculpture: Time as Material Drawing Machines Joe Winter Angela Ferraiolo Open, Seminar—Fall Open, FYS—Year In this course, we will treat time as a central In 2016, So Kanno and Takahiro Yamaguchi used element in the conception, display, and skateboards and pendulums to create “The understanding of materials-based art practices. Senseless Drawing Bot,” a self-propelling device that While we will consider integrating sculpture with sprays abstract lines on walls. Meanwhile, François media and with methods more typically described as Xavier Saint Georges used power tools to create “The “time-based” (such as performance, digital media, Roto,” a small circular machine that prints orbital film/video), students will also be challenged to graphite patterns on flat surfaces. In 2011, Eske Rex, consider the potential of time, duration, and process a designer in Copenhagen, built two nine-foot towers to act upon or activate seemingly inert materials. We to stage a double harmonograph for Milan Design will attempt to propose alternatives to the idea of Week. Joseph Griffiths usesx e ercise bikes. Alex artworks as fixed forms and instead consider how Kiessling uses robot arms. Olafur Eliasson simply objects, images, and materials might transform, vibrates balls covered in ink across paper. For evolve, decay, or accumulate over time. Through centuries, artists have been obsessed with machines readings, discussion, and studio projects, we will that make pictures; today, their ongoing experiments examine ideas about time from a variety of with software, robots, and weird bizarro perspectives (scientific, historical, musical, and contraptions have become a core aspect of the cinematic, among others) and think about how these studio’s relationship to technology. While many temporal modes can inform our making and lived drawing machines look backward through history for experience of objects and art. ideas about mechanized art, contemporary projects THE CURRICULUM 165 are often based on computer programs that engage finishing with a large-scale, independent project. programming as an artistic practice. Part art studio, Throughout the year, you will learn how to express part history, part programming, and part mad yourself through drawing: How will your drawings be scientist lab with a bit of eBay salvage thrown in, the different from everyone else’s? Our subjects will goal of this FYS course is to study the history of include the human figure, space, memory, drawing machines with the intent of turning portraiture, time, text, still life, installation, ordinary objects into marvelous machines and goofy imagination, collaboration, color, and humor. We will gadgets that know how to draw—hopefully, in a way not keep our subjects at a distance but, rather, will all their own. try to connect with them, move around and through them, and deconstruct them in order to truly First-Year Studies: The New understand what we are drawing. Ultimately, what can your drawings reveal beyond what we all plainly Narrative Photography see? This course will ask you to look at your world Joel Sternfeld with intensity and render the visible and invisible on Open, FYS—Year paper. Studio practice will be reinforced through A photograph presented alone and without a discussion, written work, readings, slides, and descriptive caption is like a simple utterance: “ooh!” museum visits. Visiting artists and studio visits with or “aah!” or “huh?” When pictures are presented in artists in New York City will be scheduled. groups with accompanying text and perhaps in conjunction with political or poetic conceptual strategies, however, any statement becomes Painting and Words: Definitely Not possible. Collectively, photographs can begin to Floccinaucinihilipilification function as a sentence, a paragraph, or a larger John O’Connor discourse. Whether working in fiction or nonfiction, Intermediate, Seminar—Fall artists such as Alan Sekula, Robert Frank, Susan The relationship between art and language has been Meiselas, Taryn Simon, Jim Goldberg, Roni Horn, and explored in dynamic ways throughout art history and others have transformed the reach of the in contemporary painting. From ancient cave photograph. Collectively, they have created a paintings and Egyptian hieroglyphs to Cy Twombly’s medium: The New Narrative Photography. In this scrawled relief paintings and Alfred Jensen’s course, students will study the work of artists and impasto diagrams, the fusion of language into paint others and will create their own bodies of work. If has long been at the core of visual expression. How you have a story to tell or a statement to make, this does the way a word looks—its shape, color, course is open to you. No previous photographic size—relate to what it says? How many ways can experience is necessary nor is any special you read a work of art? In this intermediate painting equipment. The opportunity to forge a new medium course, students will probe the dynamic between the is rare. This course aims to create the forum and the formal qualities of language and its content: conditions necessary for all to do so in a critical and personal, political, social, formal. Via the prism of supportive workshop environment. text, we will paint color and space through diverse processes (observational, invented, historical, Drawing: Seeing in Reverse abstract). Primarily an oil-painting class, we will also experiment with watercolor, acrylic, encaustic, and John O’Connor other nontraditional painting mediums. In this class, Open, Seminar—Year you will be asked to explore the exciting dynamics of Drawing is an endlessly exciting art form that the painted word. Studio practice will be reinforced encourages experimentation and embraces through discussion, written work, readings, and slide mistakes. Drawing reveals the integral relationship lectures. Visiting artists and studio visits with artists between seeing and thinking. This course will in New York City will be scheduled. Open to students challenge what you think of as drawing. In the fall who have had painting courses in college or semester, you will learn about the tools and advanced high-school level. techniques of traditional, observational drawing (line, value, space, composition/paper, graphite, ink, charcoal, conte, and others) and will learn how to accurately translate what you see onto paper. In the spring semester, you will make more open-ended, experimental, idea-based drawings within more complex subjects and combinations of materials, 166 Visual and Studio Arts Advanced Interdisciplinary Studio homework assignments, and group and individual II critiques. In the second half of the course, we will complete a series of projects exploring design John O’Connor principles as applied to nonobjective (abstract) Advanced, Seminar—Spring artworks. Using paint, with preparatory collages and This interdisciplinary studio course is intended for drawings, we will engage with strategies for utilizing advanced visual-arts students to transition their art nonobjective imagery towards self-directed content. making from an assignment-based approach to Each week will bring a new problem, with lessons individual studio practice. The course will support culminating in independent paintings. Projects will students working in painting, drawing, printmaking, emphasize brainstorming multiple answers to visual photography, sculpture, video, performance, and new problems over selecting the first solution that omesc genres. Students will maintain their own studio to mind. The last part of the class will be devoted to spaces and will be expected to work independently a personal project. Students will establish their and creatively and to challenge themselves and their theme of interest, which they will present during our peers to explore new ways of thinking and making. In conference meetings. Then they will carry out addition to weekly critiques, we will discuss how research and preparatory work and develop either a formal aspects and expressive strategies of art large-scale painting or a series of paintings. making in the 20th and 21st century are considered Drawings in this class will often be produced in and evaluated in their social and political contexts. tandem with paintings in order to solve painting Relationships of past art to the development of problems and illuminate visual ideas. Revisions are a contemporary art will be addressed. During the fall natural and mandatory part of the class. The semester, students will be given open-ended majority of our time will be spent in a studio/work prompts from which they will be asked to mode. The studio is a lab where ideas are being experiment with how they make work and will be worked out and meaning is made. It is important encouraged to work across mediums. In the spring, that you are curious, that you allow yourself to travel students will focus exclusively on their own interests to unexpected places, and that you do not merely and will be expected to develop a sophisticated, rely on skills and experiences that are already part of cohesive body of independent work accompanied by you but, rather, challenge yourself to openness and an artist’s statement and exhibition. The class will progress. The process will be part critical thinking, feature image presentations, readings, group part intuition, and in large part physical labor. discussions, studio critiques, trips to artist’s studios, Working rigorously during class and on homework and participation with the Visual Arts Lecture Series. assignments is required. The goal of this class is to This will be an immersive studio course for establish the roots of a healthy and generative disciplined art students interested in making art in personal studio practice. You will also strengthen an interdisciplinary environment. Open to juniors and your knowledge of art history and take into seniors with extensive prior visual art experience. consideration the wider cultural, historical, and Please bring examples of your work to our interview. social contexts within which art is being made today. Students interested in senior exhibitions are encouraged to interview. Printmaking: Intaglio Beginning Painting Vera Iliatova Open, Seminar—Fall Yevgeniya Baras This course is designed to introduce students to a Open, Seminar—Fall and Spring range of intaglio techniques while assisting them in Technical exploration, perception, development of developing their own visual imagery through the ideas, intuition, invention, representation, and language of printmaking. Throughout the semester, communication are at the core of this class. We will students will practice dry point, etching, aquatint, begin the course in an observational mode, soft ground, and sugar lift techniques. Students will introducing practical information about the explore the history of printmaking media, the fundamentals of painting: color, shape, tone, edge, evolution of subject matter and technique, and the composition, perspective, and surface. We will paint relationship of graphic arts to the methods of still lifes and transcribe a masterwork. We will look mechanical reproduction. Course objectives will at the work of both old masters and contemporary include becoming familiar with using a print shop, painters. We will also take a trip to a museum to look printing an edition, talking critically about one’s at paintings “in the flesh.” The course will include work, and developing a process of visual storytelling. demonstrations of materials and techniques, slide presentations, films and videos, eadingr materials, THE CURRICULUM 167

The course will be supplemented with technical examine various strategies to construct a visual demonstrations, critiques, field trips, and slide world. Students will proceed to develop technical lectures. and conceptual skills that are crucial to the painting process. The work will fluctuate between in-class Advanced Interdisciplinary Studio projects and homework assignments. The curriculum will be supplemented with Power Point® Vera Iliatova presentations, film screenings, selected readings, Open, Seminar—Fall field trips, and group critiques. This interdisciplinary studio course is intended for advanced visual-arts students to transition their art making from an assignment-based approach to Printmaking: Relief individual studio practice. The course will support Vera Iliatova students working in painting, drawing, printmaking, Open, Seminar—Spring photography, sculpture, video, performance. and This course is designed to introduce students to a new-genres art forms. Students will maintain their range of intaglio techniques while assisting them in own studio spaces and will be expected to work developing their own visual imagery through the independently and creatively and to challenge language of printmaking. Students will work with themselves and their peers to explore new ways of linoleum and wood-block materials. Students will thinking and making. In addition to weekly critiques, develop drawing skills through the printmaking we will discuss how formal aspects and expressive medium and experiment with value structure, strategies of art making in the 20th and 21st composition, mark-making, transparency, and centuries are considered and evaluated in their interaction of color. Students will explore the history social and political contexts. Relationships of past of printmaking media, the evolution of subject art to the development of contemporary art will be matter and technique, and the relationship of addressed. We will also examine how traditional graphic arts to the methods of mechanical mediiums of painting and drawing relates to more reproduction. Course objectives will include contemporary mediums such as film, photography, becoming familiar with using a print shop, printing video, and performance. During the fall semester, an edition, talking critically about one’s work, and students will be given open-ended prompts from developing a process of visual storytelling. The which they will be asked to experiment with how course will be supplemented with technical they make work and will be encouraged to work demonstrations, critiques, field trips, and slide across mediums.The class will feature image lectures. presentations, readings, group discussions, studio critiques and trips to artist’s studios, and Silkscreen Printing participation with the Visual Arts Lecture Series. This will be an immersive studio course for disciplined art Nicole Maloof students interested in making art in an Open, Small seminar—Fall interdisciplinary environment. In this semester-long course, we will cover the fundamental techniques of silkscreen printing, a form of printmaking that utilizes and expands upon Narrative in Contemporary the simple concept of the stencil. This course will Painting cover a range of basic techniques, including hand- Vera Iliatova cut stencils, printing multiple layers, and using Open, Seminar—Spring photosensitive emulsion to create both hand-drawn Taking inspiration from the history of art, literature, images and digitally-based ones, utilizing text, half- and cinema, students will be introduced to a variety tone dots, and CMYK separation. Students will be of approaches on how to construct narratives in the encouraged to independently explore subject matter, language of contemporary painting. What is ideas, and aesthetic modes of their own choosing as narrative, and can it be expressed abstractly as well we develop an accumulative understanding of as literally? How can color, value, and mark-making technical knowledge. The course’s goal will be to be used in painting to create a narrative progression master the process of silkscreen in service of and a passage of time? Students will explore various developing a sophisticated language using this narrative themes, sourcing from autobiography, versatile medium. political events, literature, films, mediated images, and other personally relevant content. Observational painting will be used as a point of departure to 168 Visual and Studio Arts Narrative, Printmaking, and Artist Wood, Dust, Nail Books Kenneth Tam Nicole Maloof Open, Seminar—Year Open, Small seminar—Spring This yearlong class gets its name from the materials In this course, we will explore different ways that list for a sculpture by the artist David Hammons. narrative can be achieved through conventional and What can these three things tell us about experimental applications of printmaking and contemporary sculpture? How can a wall, dust, and a bookmaking. How is a story told in a single panel? nail work together to produce sculptural meaning? Over a series of pages? How might conventional Hammons was an elusive figure and made artworks means of storytelling be subverted and abstracted, that reflected his belief that sculpture could stories retold? How do the formal choices in making function within the space where the poetic an object affect the way a narrative unfolds? Does a overlapped with the absurd, where absence was just story always require words? And does the form of a as important as visibility, and where the mundane book always imply narrative no matter how abstract could reveal profound truths. In this class, we will its content? Over the course of the semester, a use this artwork as inspiration as we take a broad variety of basic printmaking processes will be look at what it means to make sculpture against the covered—including monotype, silkscreen, and relief backdrop of contemporary art. We will focus on cut—along with an assortment of bookbinding sculpture’s ability to act as commentary, critique, or techniques, including simple folding, pamphlet even perversion of the existing physical world. binding, accordion binding, Japanese stab binding, Assignments will deal with all aspects of making, coptic binding, and other types of stitching that can including, but not limited to, technique, materials, be employed. Students will be asked to produce both textures, scavenging, sleep, Metamucil™, omelettes, one-of-a-kind artist books and easily reproducible Amy Winehouse, the state of Georgia, thirst traps, a books to then be distributed on the Sarah Lawrence semicolon, dirt. We will spend time really LOOKING at College campus. things and trying to unpack all the ways in which objects in the world can produce complex ideas. The act of looking informs how we think and how we Things and Beyond Representation feel, and this class will dwell at length on this. Tishan Hsu Experimentation will be highly encouraged, as Sophomore and above, Seminar—Spring students learn to work within sculptural language This course will explore the possibilities for creative and realize the way it can produce meaning on a production inspired by a range of inquiries, including material, emotional, and even psychological level. readings, discussions, critiques, looking at the work The fall semester will focus on assignments aimed of contemporary artists, and observing the work of at getting students familiar with basic concepts. The students in the class as their work unfolds. We will spring semester will work toward more be reading a range of texts, as well as making individualized projects geared toward students’ museum and/or gallery visits. In doing so, we will interests. In addition, studio demonstrations, in- consider different ways of thinking about class presentations, related readings, and field trips art—which will lead us to consider different ways of to galleries and museums will supplement class defining and producing art. We will explore concepts time, as we absorb contemporary sculpture in all its as ways of discovering different subjectivities and possible forms. While this is an open-level seminar, situations in which art can become. We will take a students should expect a demanding class. Be global perspective in looking at contemporary art. prepared to bring a strong work ethic, along with a The course will experiment with the ways in which desire to challenge yourself. This class is ideal for texts, images, discussions, and activity can alter students with some familiarity working sculpturally one’s inner landscape, enabling different kinds of and who have ideas they already want to explore. (art) work to emerge. This is predominantly a studio course that will incorporate a range of activities in conjunction with studio work. We will encounter Introduction to Digital Imaging materials such as cardboard, wood, metal, plaster, Shamus Clisset and digital media, with technical support provided in Open, Seminar—Fall the handling of these media. Experience in the This course covers contemporary digital practice, visual, performative, industrial, and/or digital arts is with an emphasis on Photoshop skills and imaging helpful. techniques from scanning to printing. Proper digital workflow is the focus, while working through the basics of image manipulation tools, color correction, THE CURRICULUM 169 and retouching. The skills covered will build a solid code together live—working on short, in-class basis for further exploration of photography, fine-art exercises within a larger analysis of the social, printing, and more radical digital experiments. The cultural, and historical nature of programming broader classroom discussion emphasizes computer- cultures. All students will be required to keep a generated and -manipulated imagery as a new sketchbook and participate in installation. Artists paradigm in contemporary art, photography, and include Reas, Davis, Riley, MacDonald, and others. culture in general. Students are encouraged to Taught in p5js, HTML5, and Processing. explore the potential of digital tools in the context of their personal work—visual arts-related or Game Studio: Nonlinear and otherwise—stressing open-ended visual possibilities, as well as technical and conceptual Interactive Narratives rigor. Angela Ferraiolo Sophomore and above, Small seminar—Spring >As more stories are delivered on interactive devices, 3D Modeling our idea of narrative keeps changing. This course Shamus Clisset explores the strategies of nonlinear, multilinear, Open, Seminar—Spring modular, and interactive forms of design while This course introduces students to the process of analyzing several examples of the nonlinear story constructing digital objects and environments in the design found in games, electronic literature, and virtual space of the computer. Emphasis will be on a interactive art. Students will develop the critical strong grasp of form, space, and composition. tools to create and analyze interactive projects. All Fundamentals of hard-edge and organic surface students will keep a sketchbook, participate in game modeling will be thoroughly exercised, while further night, develop one nonlinear or interactive narrative, exploration of the digital tools will cover shading and and write one five-page design document. Artists texturing, lighting, and rendering with the virtual include Leishman, Gysin, Eco, Calvino, Mateas, and camera. Over the course of the semester, students others. Taught in Unity 2D/C#, with Pyskel, Tiled, and will be challenged to create increasingly complex LMMS Studio. Prerequisite: Game Studio: Level Design objects, environments, and imagery. Through readings and discussion, students will also be encouraged to consider the conceptual ramifications New Genres: Systems Aesthetics of working in computer space. Contemporary Angela Ferraiolo examples of computer-generated imagery in art, Sophomore and above, Small seminar—Spring film, and media—juxtaposed with historical views From Gordon Pask’s Colloquy of Mobiles to Paolo on visual illusion from art and philosophy—will form Cirio’s Google Will Eat Itself, the shift from object to a broader context in which to examine the medium. process or system has had a profound influence on contemporary art. This class looks at the history, theory, and practice of systems aesthetics through Game Studio: Level Design art making, readings, lectures, demonstrations, Angela Ferraiolo discussions, critiques, and writing. Class time Sophomore and above, Small seminar—Fall consists of demonstrations of technique, balanced This is a guided code and tutorial class designed to with presentations of artist examples and introduce students to the basic tools, concepts, and discussions of systems theorists presenting these techniques used in game development, including practices within the broader social, material, and games programming basics, game art, sound effects, political aspects of the field. Artists and theorists music, narrative design, interactables, and game include Benjamin, Weaver, Shannon, Burnham. mechanics. Taught in Unity 2D/C#, with Pyskel, Tiled, Ascott, Luhmann, and others. Prerequisite: Art from and LMMS Studio. Code

Art From Code Media Burn: Moving-Image Angela Ferraiolo Installation in Practice Open, Small seminar—Fall Jenny Perlin This course is a “live-coding,” practice-based Open, Seminar—Year introduction to visual-arts programming—including This yearlong production seminar investigates color, shape, transformations, and histories, strategies, and concepts related to the motion—designed for artists with little or no prior production and exhibition of moving-image programming experience. We’ll meet twice weekly to 170 Visual and Studio Arts installation. Over the year, students will investigate digital photography course. Students need to have at the histories of moving-image installation and least a 35mm film amerc a and be able to purchase create their own works of time-based art. We will film and gelatin silver paper throughout the term. look at artworks that use moving images, space, sound, loops, performance, site-specificity, chance Intermediate Photography operations, multiple channels, and games as tools for communicating ideas. In the fall semester, our Justine Kurland work will be inspired by close readings of specific Open, Seminar—Year seminal artworks on installation from the late 1960s This course is designed to introduce new working to the present, including pieces that utilize feedback methods, with an emphasis on experimentation. loops, multiple projections, home movies, and new Students are encouraged to broaden and deepen technologies. Students will simultaneously learn their skills and knowledge of photographic craft and concept through collaborative and techniques and to explore ideas and the overarching individual production. In the spring semester, we will concepts that inform them. Through a series of engage with our own concepts and ideas of how readings and assignments, students will develop time-based installation can be activated. Site- their own program of study as they consider specificity, social practice, and interdisciplinary influences, observations, and invention. These projects are introduced, and students are dynamic themes include: working within a field of encouraged to connect their conference in this class influence; subjective freedom versus objective to collaborations in theatre, dance, sculpture, authenticity; the roll of documentary and conceptual painting, and academics. Conference works involve approaches to photography; perception, observation, research, craft, and rigorous conceptual and and emotion; and photography as event and technical practice and are presented in exhibitions narrative. We will be guided by historical precedents at the end of each semester. A component of the and will incorporate research into our studio class will take place outside the classroom at practice. Students will be introduced to ideas of museums, galleries, nonprofits, performance spaces, installation, book layout, editing, and sequencing and historic sites in and around New York. P.S. The through bibliomaniac explorations and gallery/ title of the class, Media Burn, comes from the 1975 museum visits. Students will be expected to work performance by the San Francisco-based art independently outside of class. During class time, we collective Ant Farm (https://www.eai.org/titles/ will be sharing critiques and class discussions and media-burn). view slide presentations of artists’ work. Students will develop a cohesive and original body of photographs and develop a generative practice Basic Analog Black-and-White based on making, thinking, and remaking. Photography Michael Spano The Ideas of Photography Open, Seminar—Spring Joel Sternfeld This is an analog, film-based oursec that introduces Open, Seminar—Year the fundamentals of black-and-white photography: This course is a hybrid. Each week of the first acquisition of photographic technique, development semester, a different photographic idea or genre will of personal vision and artistic expression, and be traced from its earliest iterations to its present discussion of photographic history and form through slide lectures and readings. And each contemporary practice. Reviews are designed to week, students will respond with their own strengthen the understanding of the creative photographic work inspired by the visual process, while assignments will stress photographic presentations and readings. Topics include personal aesthetics and formal concerns. Conference work dress-up/narrative, composite photography/ entails research into historical movements and photographic collage, the directorial mode, fashion/ individual artist’s working methods. Throughout the art photography, new strategies in documentary semester, students are encouraged to make frequent practice, abstraction/”new photography,” the visits to gallery and museum exhibitions and share typology in photography, the photograph in color, their impressions with the class. The relationship of and the use of words and images in combination. In photography to liberal arts also will be emphasized. the second semester, the emphasis will shift as Students will develop and complete their own bodies students choose to work on a subject and in a form of work as culmination of their study. This is not a that coincides with the ideas that they most urgently wish to express. No previous experience in photography is necessary nor is any special THE CURRICULUM 171 equipment. A desire to explore, to experiment, and to the visual vocabulary of color, as well as its personal, create a personally meaningful body of work are the psychological, symbolic, expressive, and emotional only prerequisites. consequences.

Problems in Photography Lost and Found: Collage and the Lucas Blalock Recycled Image Open, Seminar—Year Gary Burnley This class will deal with the ways in which Open, Seminar—Fall contemporary artists working in photography This course will consider the use, reuse, and, discover and develop the problems central to their therefore, possible reinterpretation of existing work. We will use these encounters to help focus and images and discarded materials in the production of understand our own picture making. Looking at the new works of art. The creative potential of viewing work of a single artist, or even a single work by an the familiar in a new context will be the focus of our artist, will provide an opportunity to unearth and exploration. Issues such as recognition, replication, understand the influences and histories on which prime objects, invention within variation, these works depend. For example, we could begin appropriation, history, and memory (both personal with a Cindy Sherman untitled film still and then use and cultural) will be examined. Each student will be Sherman’s work to discuss the conditions of expected to nurture and sustain a unique and postmodernism, look back at the development of individual point of view. The course will revolve self-portraiture in photography, consider the around daily exercises, clearly-defined problems, and feminist tradition, and unpack the cultural and assignments both inside and outside the studio that political moment in which the work was made. are designed to sharpen awareness and reinforce Students will then be asked to respond to the the kind of disciplined work habits necessary to material raised in this discussion with their own every creative endeavor. work made from their own position and perspective. Students should expect reading and looking Other courses of interest are listed below. Full assignments, as well as shooting assignments. An descriptions of the courses may be found under the interest in art history and a basic knowledge of DSLR appropriate disciplines. cameras, inkjet printing, and Adobe Photoshop is encouraged. Conference work for the course will be Paris, City of Light and Violence (p. 4), Robert R. an independent photographic project to be shared in Desjarlais Anthropology critique a number of times each semester. Genealogies of Modern and Contemporary Art, 1890 to the Present (p. 10), Sarah Hamill Art History Color Masterworks of Art and Architecture of the Western Tradition: Part 1 (p. 12), Jerrilynn Dodds Art Gary Burnley History Open, Seminar—Fall Masterworks of Art and Architecture of the Western Color is primordial. It is life itself, and a world Tradition: Part 2 (p. 12), Jerrilynn Dodds Art without color would appear dead and barren to us. History Nothing affects our entire being more dramatically Object, Site, and Installation (p. 13), Sarah Hamill Art than color. The children of light, colors reveal and History add meaning—giving richness and fullness to all Theories of Photography (p. 13), Sarah Hamill Art that surrounds us. A vehicle for expressing emotions History and concepts, as well as information, color soothes “A Talent for Every Noble Thing”: Art, Architecture in us and excites us. Our response to color is both Italy, 1300-1600 (p. 11), Joseph C. Forte Art biological and cultural. It changes how we live, how History we dream, and what we desire. Using a variety of Architectures of the Future, 1780 to the methods and materials, this course will focus on an Present (p. 11), Joseph C. Forte Art History exploration of color, its agents, and their effects. Not Images of India: Text/Photo/Film (p. 16), Sandra a painting course, this class will explore Robinson Asian Studies relationships between the theory, perception, use, Landscapes in Translation: Cartographies, Visions, and physiology of color. Clearly-defined problems and Interventions (p. 42), Charles Zerner and exercises will concentrate on understanding and Environmental Studies controlling the principles and strategies common to Digital 2D Animation: Shorts (p. 50), Robin Starbuck Filmmaking and Moving Image Arts 172 Writing Secondary Currents: Experimental Film in In workshops, students practice their writing Place (p. 51), Robin Starbuck Filmmaking and and critique each other’s work. The program Moving Image Arts encourages students to explore an array of Experimental Film and Animation (p. 51), Robin distinctive perspectives and techniques that will Starbuck Filmmaking and Moving Image Arts extend their own writing ability—whatever their Documentary Filmmaking: Truth, Freedom, and preferred genre. Conferences provide students with Bearing Witness (p. 47), Damani Baker close, continual mentoring and guidance and with Filmmaking and Moving Image Arts opportunities to encounter personally their teachers’ Drawing for Animation: Character Design (p. 49), professional experiences. Teachers critique their Scott Duce Filmmaking and Moving Image Arts students’ writing and select readings specifically to Drawing for Animation: Concept Art (p. 50), Scott augment or challenge each student’s work. In Duce Filmmaking and Moving Image Arts conferences, student and teacher chart a course of Hand-Drawn Animation (p. 50), Scott Duce study that best allows individual students to pursue Filmmaking and Moving Image Arts subjects and issues that interest them, to develop Storyboarding for Film and Animation (p. 49), Scott their own voice, to hone their techniques, and to Duce Filmmaking and Moving Image Arts grow more sophisticated as readers and critics. Advanced Projects In Writing for the Screen (p. 53), The College offers a vibrant community of Frederick Michael Strype Filmmaking and writers and probably the largest writing faculty Moving Image Arts available to undergraduates anywhere in the Food, Agriculture, Environment, and country. Visits from guest writers who give public Development (p. 61), Joshua Muldavin readings and lectures are an important component Geography of the curriculum throughout the year. Gender, Race, and Media: Historicizing Visual Sarah Lawrence College also takes full Culture (p. 76), Rachelle Sussman Rumph advantage of its proximity to the New York City History literary scene, with its readings, literary agencies, The Bible and Literature (p. 87), William publishing houses, and bookstores—as well as its Shullenberger Literature wealth of arts and culture. The city provides fertile Translation Studies: Poetics, Politics, Theory, and ground for internships in which students can use Practice (p. 91), Bella Brodzki Literature their writing training in educational programs, Art and Visual Perception (p. 125), Elizabeth schools, publishing houses, small presses, journal Johnston Psychology productions, magazines, and nonprofit arts agencies. First-Year Studies: The Senses: Art and Science (p. 124), Elizabeth Johnston Psychology First-Year Studies: Forms and First-Year Studies: Forming Poetry/Poetic Fictions Form (p. 173), Matthea Harvey Writing Myra Goldberg First-Year Studies: Forms and Fictions (p. 172), Myra Open, FYS—Year Goldberg Writing This class explores the gift of form as it comes to us Our World, Other Worlds (p. 174), Myra Goldberg from writers from around the world. We will read and Writing then write our versions of folk and fairy tales, epics, Poetry: What Holds The Unsayable (p. 182), Marie short stories, short plays, and anything else we care Howe Writing to try. Second semester will involve writing seven A Kind of Haunting: A Poetry Workshop (p. 182), episodes of a fiction. In other orw ds, we will learn Cynthia Cruz Writing how to use a short form to write a long work. Class may involve a discussion of literature, a sharing of our writing, an exercise, a collaboration. While we WRITING are exploring the boundaries and premises of various forms, we will step over other boundaries—between In Sarah Lawrence College’s nationally recognized the real and the imaginary, this world and another, writing program, students work in close text and picture, and one form and another. Students collaboration with faculty members who are active, will be invited to add visual and sound components successful writers. The program focuses on the art to their work, if they wish. In addition to classes, and craft of writing. Courses in poetry, fiction, and students will have an individual conference every creative nonfiction are offered. other week and a half-group conference on alternating weeks. THE CURRICULUM 173 First-Year Studies: The House of factual writing and to the dilemmas of truth that Fiction: A Guided Tour obtain when we take complex, fragmentary human experience—whether personal or social—and David Hollander transform that experience into stories. Students will Open, FYS—Year be asked to write their own stories and to research When I began teaching writing at Sarah Lawrence, I stories about the world along the spectrum of was of the write-what-you-know school and pushed nonfiction rf om journalism to essays to oral histories my students to “mine their experience in search of to case studies. They will also be asked to think hidden truths” (or something like that). But over about the underlying epistemic problems that come time, I’ve come to see this as an insufficient ywa of with representing facts in language—from blunt- thinking (and talking) about fiction writing. It force manipulations of truth for the sake of political cultivates a reverence for plot and character but gain to more subtle distortions that arise from the ignores the aspects of fiction that seem especially techniques of creation, representation, and vital to me: language, structure, voice, and ideas. persuasion. We will read a broad variety of writers, That’s why this FYS workshop will emphasize the ranging from Aristotle, Longinus, and St. Augustine value of play and experimentation in the creation of to Basho, George Orwell, Virginia Woolf, James short fiction. My goal, in actf , is to suggest that the Baldwin, and Marshall McLuhan to a legion of world of fiction is like a gargantuan, twisted, contemporary writers writing about race, gender, labyrinthine house and not some little cottage on a sex, art, technology, the environment, sports, and grassy hill. I want to show my students around, themselves. We will think long and fruitfully about explore secret rooms, open doors that lead nowhere, how the ephemeral facticity of the world is traverse long dark corridors, peer into dark and fashioned into, on the one hand, propaganda and forgotten wells. Our weekly writing assignments will polemic and, on the other, great art. explore some of these spaces, and students will be asked to write in ways they may never have considered writing before. Our reading list will be First-Year Studies: Forming dynamic and multifaceted, seeking to constantly Poetry/Poetic Form expand our notions of what fiction is and anc be. The Matthea Harvey list will include a number of short novels Open, FYS—Year (Autobiography of Red by Anne Carson, Outer Dark by Radial, bilateral, transverse: symmetries that change Cormac McCarthy, Kamby Bolongo Mean River by over a life; radical asymmetries. Sea shells unfurl by Robert Lopez, The End of Days by Jenny Erpenbeck, Fibonacci. Horn, bark, petal: hydrocarbon chains and Invisible Cities by Italo Calvino are all arrange in every conceivable strut, winch, and pylon, possibilities), as well as dozens of short stories by ranging over the visible spectrum and beyond into writers who often defy convention. These may ultraviolet and infrared. Horseshoe crab, butterfly, include Robert Coover, Dawn Raffel, Joy Williams, barnacle, and millipede all belong to the same Stacey Richter, David Foster Wallace, Shelley Jackson, phylum. Earthworms with seven hearts, ruminants Roxane Gay, Donald Barthelme, and Harlan Ellison. with multiple stomachs, scallops with a line of eyes Students will be writing all the time, as we rimming their shell like party lanterns, animals with constantly expand and update our imagined two brains, many brains, none. —from The Gold Bug blueprint of the House. Our goal is to create a Variations, by Richard Powers community that values and supports risk-taking and innovation. I want my writers to leave this first eary This FYS course is part workshop and part an of college with a better understanding of how big exploration of reading and writing in established, and deep and funny and meaningful fiction anc be. If evolving, and invented forms. We will use An this sounds interesting, you can find me behind the Exaltation of Forms, edited by Annie Finch and “Welcome” mat burning in front of the old iron door Katherine Varnes (featuring essays on form by teetering from its rusted hinges. contemporary poets), alongside books by a wide array of poets and visual artists to facilitate and First-Year Studies: Fake News, further these discussions. You will direct language through the sieves and sleeves of the haiku, sonnet, Real News, News That Stays News prose poem, ghazal, haibun, etc. Expect to move Vijay Seshadri fluidly between iambic pentameter, erasures, comic Open, FYS—Year poems, and the lipogram (in which you are not This combination literary survey and writing course allowed to use a particular letter of the alphabet in will introduce students to the rhetoric and reality of 174 Writing your poem). Expect to complicate your notion of on your writing, and each of you will present at least what “a poem in form” is. We will utliize in-class one final developed story for our workshop each writing exercises and prompts. semester.

Our World, Other Worlds The Short Story Myra Goldberg Rattawut Lapcharoensap Open, Seminar—Year Open, Seminar—Year This course explores prose writing, with an emphasis This short story writing workshop is also a survey of on the creation of a world. The writing can be fiction the form’s history. We will begin with Frank or nonfiction and anc take place in this world, O’Connor’s definition of the short story as a form another, or several. We will explore ideas about this characterized not by its length so much as by its world and writing about this world and others and subject matter: the lives of what he calls work on our writing to make it livelier and more real “submerged population groups,” people for whom a no matter how imaginary our world is. This course “normal society” is the “exception” rather than the runs in two parts, one semester each. You can take “rule”; in short, outsiders, losers, the marginalized, one or both parts. One part will involve writing the dispossessed, the ignored, the powerless, the episodes to build a world that, revised, will become a subcultural. In this yearlong course, students will conference project; the other part will work on craft test O’Connor’s description of the form by examining and content exercises of all kinds, with the several short-story collections in the hopes of conference project distinct from the exercises. generating a portfolio of stories about a “submerged Readings include folk tales, religious writing, population group” of their own. Beginning with philosophy, fiction, and newspaper items. Nikolai Gogol’s The Overcoat, we will then move on to canonical examples, as well as more recent First the Basics, Then On to examples, from Edward P. Jones, Raymond Carver, James Alan Macpherson, Grace Paley, Alice Munro, Stranger Fiction Denis Johnson, James Kelman, Junot Diaz, George Mary LaChapelle Saunders, Lydia Davis, Sherman Alexie, Julie Otsuka, Open, Seminar—Year and Charles Baxter, among many others. Our time In this yearlong fiction-writing orkshop,w you will will be equally divided among reading published acquaint yourselves with basic elements of fiction works, tracing the evolution of the short-story form, such as point of view, character, plot and structure, and examining each other’s efforts through weekly dialogue and exposition, detail and scene, as well as workshops, critical and generative writing exercises, other more sophisticated concepts related to the and one-on-one conferences. Throughout, we will craft and imaginative process of fiction. Principals ask questions not only about craft and technique in such as counterpoint characterization, short-story writing—matters of plot, voice, defamiliariazation, and the sublime, among others, character, structure, setting, language, and the are explored through lessons, writing exercises, and like—but also larger questions about the form itself assigned readings, as well as authors’ works that and the traditions in which short-story writers are all you wish to share with the class. We attend readings necessarily enmeshed. and craft talks by the guest writers in our reading series. We form small groups to more closely study various aspects of fiction and ot help each other Fiction Workshop draft your stories. We move on in the second April Reynolds Mosolino semester to explore the unconscious, dream Open, Seminar—Year narratives, the absurd, and speculative fiction. eW All great stories are built with good sentences. In study two democratically chosen novels and a film. this workshop, students will create short stories or Some of the authors we will be studying and, at continue works-in-progress that will be read and times, modeling are Flannery O’Connor, James Agee, discussed by their peers. Class sessions will focus on James Baldwin, Tobais Wolff, ZZ Packer, Marquez, constructive criticism of the writer’s work, and Kafka, Borges, Nabokov, Carmen Marchado, George students will be encouraged to ask the questions Saunders, and Octavia Butler. The core of the course with which all writers grapple: What makes a good is the students’ own development as fiction writers. story? Have I fully developed my characters? And We have a lot of fun trying numerous exercises and does my language convey the ideas that I want? We approaches to stories. We work closely in conference will talk about the writer’s craft in this class—how people tell stories to each other, how to find a plot, and how to make a sentence come to life. This THE CURRICULUM 175 workshop should be seen as a place where students Before and After can share their thoughts and ideas in order to then Carolyn Ferrell return to their pages and create a completed Open, Seminar—Fall imaginary work. There will also be some short This class will be run as a traditional workshop, with stories and essays on the art of writing that will set students exchanging their own stories for discussion the tone and provide literary fodder for the class. and completing weekly reading assignments; but the focus of our reading will be on two or more works by Realms of the Unreal: Speculative a particular author in order to try and understand Fiction Workshop that author’s trajectory. We will, for example, explore Nelly Reifler the development of voice and subject matter, as well Open, Seminar—Year as characterization, plot, point of view, and form. Although every work of fiction is a antf asy, fiction These writers will be our teachers. By reading their writers often strive to portray a cohesive reality. In work, we hope to come to a clearer understanding of this workshop, we will focus on writing and reading what makes a story live and breathe. Some authors fiction that embraces fantastic, splintered, and whom we may consider include Tobias Wolff, Junot speculative realities. We will focus on creating Diaz, Dan Chaon, Alice Munro, Lynda Barry, and worlds from our dreams, daydreams, collective Roxane Gay. Students will be expected to attend at myths, and imagined technologies. We'll treat our least two readings on campus, hand in writing stories as laboratories that accommodate daring and assignments every other week, and complete a set complex experiments. We’ll talk about subjectivity of readings for conference. and the scope of human perception—and explore how much of what we agree to call reality is itself a No, Really, Where Do Ideas Come fantasy. We will also examine the precedents set in From? A Fiction Workshop/ science fiction, antf asy, and other areas of literature Creative Boot Camp that deal with the realms of the unreal. Authors whose work you may be assigned for class or Myla Goldberg conference include Franz Kafka, Jorge Luis Borges, Open, Seminar—Fall Philip K. Dick, William Burroughs, Octavia Butler, Judy It’s not a stupid question. We’ll seek to answer it by Budnitz, Helen Oyeyemi, Karin Tidbeck, Cathy Park spending the first third of the semester engaging in Hong, William Gibson, Paul LaFarge, Shelly Jackson, writing exercises, thought experiments, intelligence Ray Bradbury, Ursula LeGuin, David Ohle, Samuel gathering, and craft discussions designed to get Delaney, Yasunari Kawabata, Angela Carter, and your own ideas flowing and to provide seeds for the Dolan Morgan—along with theorists and stories that you’ll be writing. The rest of the philosophers such as Jean Baudrillard and Markus semester will be devoted to workshopping what Gabriel. We’ll identify and discuss conventions within you’ve written, with the class coming together to genres, both working within them and pushing create a constructive community of readers with the against them. kindness, toughness, honesty, and sensitivity that can make a workshop a unique and valuable writing tool. Ambition and risk-taking will be encouraged, as Fiction Workshop we address a slew of other not-stupid questions Melvin Jules Bukiet such as: What makes a plot strong? Does a character Open, Seminar—Fall have to be likable? How much fact goes into fiction? Some people think that all classes-especially writing Outside reading will be designed to take you in and classes-should be “safe.” I don’t. I prefer danger. Only out of your comfort zones, running the gamut from by risking failure can anyone learn. I want students realism to fabulism and featuring a multitude of to care about what they write and how they write; rulemakers and rule breakers for you to admire and and if the consequences of caring include anxiety, inspire, love and loathe—sometimes simultaneously. trepidation, and night sweats, so be it. Oh, class should also be fun. As for the content: You write, I read, we talk. Using student work as examples, we talk about what makes one story dynamic and another dull; what makes one character believable and another implausible; and, mostly, what makes one sentence sing and another croak. 176 Writing The Revolution Will Not Be how do we earn that ending? And finally, how do we Televised: Writing and Production create the enchantment necessary to involve, persuade, and move the reader in the ways that Audio Fiction Podcasts fiction is most apable.c We will investigate these Ann Heppermann questions through a series of exercises meant to Open, Seminar—Fall generate and sustain your visions of a story, as well The goal of this class is to start a revolution. Over the as to put into practice the various elements of past few years, we have entered into a time of what fiction: plot, character, setting, detail, dialogue, and is being called “The Second Golden Age of Audio.” But exposition. We will learn how these seemingly there is a problem. This Golden Age is almost practical conventions of story writing can be used to primarily nonfiction. This class will change that. virtuosic effect by authors such as Donald Students will learn to write and produce Barthelme, Jamaica Kinkaid, James Baldwin, Flannery groundbreaking contemporary audio dramas for O’Connor, Tobias Wolff, ZZ Packer, George Saunders, radio and podcast. We will listen to emerging works and others. You will generate your conference work from podcasts such as Welcome to Night Vale, The from your readings and exercises, develop it through Truth, Wiretap, and Lore, as well as by authors who close critique in our classes and conferences, have played in this field: Miranda July, Rick Moody, present it in preliminary workshops, and, finally, Gregory Whitehead, Joe Frank, and others. We will submit your best work in a series of formal also create our own critical discourse for workshops at the end of the semester. contemporary audio drama—analyzing writings and essays from the fields of screenwriting, sound art, contemporary music, and literature—to help Portraiture understand and analyze the works that we are Rattawut Lapcharoensap creating. The creators of Limetown, The Truth, and Open, Seminar—Spring other audio fiction makers will visit the class to talk What is a character? How do you portray a person? about their stories and production processes. The And what does it mean to do so? The history of class will also contribute to the Sarah Lawrence literature is full of eponymous works—Don Quixote, College International Audio Fiction Award (aka, The “Tristam Shandy,” David Copperfield, to name but a Sarahs)—the first international audio fiction wara d canonical few—works that often seek to examine a in the United States. Students will make works for single character or consciousness over time. The Very, Very, Short, Short Stories Contest and help “Character studies,” or “portraiture,” might be curate works for the award-show podcast. In the fall, another way of describing such writing, in which a we will collaborate with master’s degree students writer brings all of his or her energies to bear upon from the drama department at the Royal the art of representing “other people”—and in Conservatoire in Antwerp to create original works which the machinations of “plot” take a relative that will be featured at a European festival. At the back seat to questions of “character” (and all that end of the semester, students will take over WGXC such a character might reveal). In this course, we radio station in the Hudson Valley and broadcast will look at examples of “literary portraiture” in the their final onfc erence projects. hopes of generating our own. Our readings will include classics of the form (Melville’s “Bartleby,” Virginia Woolf’s Mrs. Dalloway, Saul Bellow’s Herzog, Fiction Workshop Ralph Ellison’s Invisible Man, and Maxine Hong Mary LaChapelle Kingston’s The Woman Warrior), as well as relatively Open, Seminar—Fall contemporary examples (Evan Connell’s Mrs. Bridge, Nabokov stated that there are three points of view John Williams’ Stoner, Dorothy Baker’s Cassandra at from which a writer can be considered: as a the Wedding, Anne Carson’s Autobiography of Red, storyteller, as a teacher, and as an enchanter. We will Junot Diaz’s The Brief and Wondrous Life of Oscar consider all three, but it is with the art of Wao, Maggie Nelson’s Jane: A Murder, Svetlana enchantment that this workshop is most dedicated. Alexievich’s Voices from Chernobyl, J. M. Coetzee’s We will walk through the process of writing a story. Elizabeth Costello, and W. G. Sebald’s The Emigrants). Where does the story come from? How do we know Throughout the course, we will be asking questions when we are ready to begin? How do we avoid about what makes for a plausible character or succumbing to safe and unoriginal decisions and interior life in writing, what tools are available at learn to recognize and trust our more mysterious and writers’ disposal in their attempts to portray “other promising impulses? How do our characters guide people,” and what’s often at stake in such efforts. the work? How do we come to know an ending, and Through close readings of published work, individual THE CURRICULUM 177 conferences, generative writing exercises, and ways. We will read from connected collections. workshops of each other’s writing, students will Exercises will be created in order to help students work towards crafting and presenting their own mine their own material in order to create small work of portraiture by the end of the term. collections of narratives with similar preoccupations, terrains, or people. The student will Writing Toward Truth: A Fiction produce his/her own collection of 10-12 linked stories during the yearlong course. We will definitely Writing Course learn the craft of the short story, and there will be Alexandra Soiseth many exercises and prompts to help the student who Open, Seminar—Spring may be less familiar with this genre; but the focus To be an artist means never to avert your eyes. will be on finding oury project and then figuring out —Akira Kurosawa how to link the stories. Though not required, it is best if a student has previously worked in the genre. I used to believe that my main task as a teacher of Some creative writing experience is required. writing was to give you craft knowledge: narrative arch, characterization, setting, scenes with lively dialogue, conflict/drama, and all the other great Memory and Fiction pillars of storytelling expertise. But compelling, Victoria Redel urgent, brilliant writing comes from the bubbling hot Sophomore and above, Seminar—Fall center of you and me and not the seat of knowledge, The poet Ranier Maria Rilke wrote about shaping art: our brain. To reach the deep truths that we carry “You must be able to think back to streets in inside ourselves, we must cultivate a connection to unknown neighborhoods, to unexpected encounters, the unconscious. And we do that through writing. In and to partings you had long seen coming; to days of this course, we will still cover craft essentials. (They childhood whose mystery is still unexplained, to do provide a common writing vocabulary.) You will parents whom you had to hurt when they brought in read fiction, as ellw as essays on writing, but mostly a joy and you didn’t pick it up (it was a joy meant for you will write. You will write to find out how you feel, somebody else); to childhood illnesses that began so to know what is important and crucial, to connect strangely with so many profound and difficult with what you love and what you hate. Then you will transformations, to days in quiet restrained rooms turn this material into fiction and story. In class and and to mornings by the sea, to the sea itself, to seas, at home, I will challenge you to write your way into but it is still not enough to be able to think of all truth and reveal the world that you see through your that.” In this class, we will explore the uses of unaverted eyes. childhood and memory as springboards for short fiction. How do writers move from the kernel of Connected Collections: Short experience to the making of fiction? How do we use our past to develop stories that are not the retelling Stories and How to Link Them of what happened but, rather, an opportunity to Mary Morris develop a fiction with its wno integrity and truth? Sophomore and above, Seminar—Year How do we work with what we have half-known or From Edgar Allan Poe to Sandra Cisneros and Tim half-observed to shape story and create characters? O’Brien, writers have been engaged in the art of We will work from writing experiments and readings writing stories that weave and interconnect in of short fictions and novels. interesting ways. And, in some cases, these might become a novel told in stories. Whether through THEME as in Poe or, more recently, Dan Chaon’s The Unconscious, the Absurd, the Among the Missing or Joan Silber’s Ideas of Sublime, and the Impossibly Heaven—through PLACE as in James Joyce’s Probable Dubliners or Sandra Cisernos’ House on Mango Mary LaChapelle Street—through CHARACTERS as in O’Brien’sThe Intermediate/Advanced, Seminar—Spring Things They Carried or Susan Minot’s Monkeys—or, This one-semester workshop will venture into more finally, through an INCIDENT that links them as in unlikely fictional erritt ories: dream narratives, Haruki Murakami's After the Quake, Russell Banks’ preposterous situations served up matter-of-factly, The Sweet Hereafter, or Thornton Wilder's The Bridge unscary ghost stories, speculative fiction, and of San Luis Rey—writers have found ways to link virtuosic works that elude comprehension but their stories. This workshop will focus on the writing deliver you to the profound and pleasurable edges of of stories that are connected in one of these various apprehension. To jar us from our more prosaic and 178 Writing safe forms of fiction, ew will begin the semester Nonfiction orkW shop: To Tell the with a series of exercises inspired by the stories of Truth authors such as Gabriel Garcia Marquez, Franz Kafka, Virginia Woolf, Borges, Nabokov, George Saunders, Suzanne Gardinier Carmen Maria Machado, and Olivia Butler, as well as Open, Seminar—Fall essays by Carl Jung, Immanuel Kant, and Charles This class will explore the mysteries of writing what Baxter. You will generate your conference work from has been called “nonfiction,” focusing particularly on the readings and exercises, develop it through close questions around what has been called lying and critique in our classes and conferences, present it in what has been called telling the truth. Was Toni preliminary workshops, and, finally, submit your best Morrison right when she said our minds have an work in a series of formal workshops at the end of “antipathy to fraud”? Does lying have a syntax? What the semester. are the cultural contexts, nourishments, and manipulations that may affect what happens between a writer and a drafted or published Nonfiction Writing as Literature sentence? What's the difference between a lie that Jo Ann Beard illuminates the truth and a lie that obfuscates or Open, Seminar—Year tries to extinguish it? Are famous writers good? Can This is a course for students who have taken a popular writing lie? Is it possible to “tell the truth”? creative writing class and are interested in exploring Our readings may include the work of James Baldwin, how nonfiction anc be literary and artful. The first Anne Carson, Elizabeth Cook-Lynn, Dionne Brand, semester will focus on reading and interpreting Aimé Césaire, Edward Said, Fred Moten, Hannah outside work—essays, articles, and journalism by Arendt, and Virginia Woolf, as well as that of Wallace some of our best writers—in order to understand Stegner, William F. Buckley, Jr., Charlotte Beers, Henry what good nonfiction is and how it is created. Kissinger, and the Senate Intelligence Committee Writing will include mostly exercises and short Report on Torture. In conference, we’ll discuss drafts pieces aimed at putting into practice what is being of student work; in class, we’ll discuss readings, in illuminated in the readings. We will look at fiction light of the questions above, as a way of guiding our and poetry to better understand language and image own makings. You’ll be expected to attend class, and at documentary films ot study narrative engage with assigned and suggested readings, structure, and we will write in class and outside participate in discussions, and, by the end of the class. During the second semester, students will class, produce 20 pages of publishable nonfiction. create longer, formal essays to be presented in The only prerequisites are a passion for reading that workshop. equals your passion for writing and a willingness to undertake whatever might be necessary to read and Wrongfully Accused write better on our last day of class than on our first. Marek Fuchs Open, Seminar—Year What’s the Story? A Radio Long-form investigative journalism has opened many Journalism Class doors, perhaps most literally in America’s penal Sally Herships system where journalists have regularly Open, Seminar—Fall revealed—and freed—the wrongfully convicted. Almost two years into a politically divisive This class will set out to expose the innocence (or presidency that has fractured the country—and confirm the guilt) of a man or omanw convicted of a with the proliferation of fake news—journalism is controversial murder or other serious felony. more important than ever. And so are the skills Working collectively and using all of the tools and required to do the job. The landscape of radio is traditions of investigative journalism, the class will exploding, and new podcasts are being launched attempt to pull out all known and unknown threads almost faster than listeners can decide which of the story to reveal the truth. Was our subject episode to download next. These outlets, shows, and wrongfully accused? Or are his or her claims of storymaking machines are hungry—both for stories innocence an attempt to game the system? The and for the producers with the skills to know how to class will interview police, prosecutors, and tell stories. In this class, we’ll learn the witnesses, as well as the friends and family of the fundamentals of making radio news—both writing victim and of the accused. The case file will be and production, for short stories and long. We’ll examined in depth. A long-form investigative piece cover editing, software, interviewing skills, and, of will be produced, complete with multimedia course, how to hold your microphone. We’ll learn accompaniment. THE CURRICULUM 179 what makes a story, how to get good tape, and how problem of the person in time and space, and the to write for the ear (very different than for the process of creation. We will read artists’ notebooks eye—just try comparing an article from The New and writers’ notebooks and other strange and less York Times with a transcript from NPR). We’ll also easily categorizable forms that borrow from the cover the skills critical for all nonfiction narrative notebook but exist as essay, novel, meditation, poem, storytelling, print or audio, from “Morning Edition” to or pillow book. The syllabus might include notebooks “This American Life.” We’ll talk research, ethics, fact and other experiments from Sei Shonagon, Susan checking, how to find sources, and how to get them Sontag, Joan Didion, Bhanu Kapil, David Wojnarowicz, to talk. Finally, we’ll cover the art of the pitch. That’s Franz Kafka, Renee Gladman, Albert Camus, Walter industry lingo for selling your story. It’s no good Benjamin, Rainer Maria Rilke, Hervé Guibert, Claudia getting the scoop if you don’t know how to sell your Rankine, Suzanne Scanlon, Durga Chew-Bose, Clarice stuff. News is new. Come and learn something new. Lispector, Roland Barthes, Moyra Davey, and Chantal Akerman. Writers will keep a public notebook over Nonfiction orkW shop: The World the course of the semester and which they will submit weekly. Students are also expected to bring and You into conference writing inspired by the class, as well Clifford Thompson as work on a longer conference project. This is a Open, Seminar—Fall prose workshop, meaning that we’ll be reading This workshop will be divided into three units, each inside and outside of genres. The class is open to of which will involve reading published essays and anyone willing to read and write wildly and seriously. writing our own. In the first, called PLACE, we will read and write essays about authors’ relationships to particular places—less travelogues than Writing Our Moment investigations of the dynamic between the person Marek Fuchs and the place. Examples of published essays that we Open, Seminar—Spring will read for this unit are “Stranger in the Village” by It would be safe to say that journalism and James Baldwin and Seymour Krim’s writing on nonfiction writing are currently undergoing a London. The second unit, DEMONS, will focus on transformation. Our most storied publications are in writers’ personal challenges—from depression, as in a state of crisis. Big-city newspapers are failing by William Stryon’s very short book, Darkness Visible, to the day. Magazines are imperiled. Book publishers migraines, the subject of Joan Didion’s essay “In face encroaching competition from handheld Bed.” For the final unit, CRITICAL SURVEY, we will read electronic devices and online search engines that do and write critical takes on works or figures in not recognize copyright laws. What is an ambitious, particular fields; xe amples: James Agee’s essay, intuitive writer to do going forward? Quite simply: “Comedy’s Greatest Era,” about silent films; oniT Harness all of the strengths of the storytelling past Morrison’s very short book, Playing in the Dark, about to a new world of few space restrictions; more the influence of blacks on early white American flexible tones; the ready presence of video, audio, literature; and Norman Mailer’s Superman Comes to and animation—which can either enrich or the Supermarket, about John F. Kennedy and other encroach upon text; and comprehend the role of politicians present at the 1960 Democratic National writer in such a way as to include and exploit new Convention. media. We will examine the relationship between literary nonfiction, which has always been cinematic in focus and flexible in tone, and the once and future Notebooks and Other Experiments practice of journalism. Masters of 20th-century Kate Zambreno nonfiction such as .V S. Naipaul, Truman Capote, Open, Seminar—Fall Joseph Mitchell, and Roger Angell—steeped as they There is a marvelously alive quality to reading a are in the journalistic practice of their time—can writer’s notebook—a laboratory of interrupted and serve as guideposts to our uncertain future. We will ongoing consciousness, whose very irregularities or examine, through reading and writing, the ways in imperfections give it a wildness unmatched by more which the formulas of journalism are transformed plotted or studied works. In this workshop, we will into literature. We will emphasize the importance of read and think through first-person or documentary factuality and fact-checking and explore adapting texts that are inspired by or take on some quality of modern storytelling to video, photography, and the notebook, scrapbook, sketchbook, or sound. As the semester progresses, literary diary—these forms enthralled to the fragment, the nonfiction will be both discovered and reinvented to list, the aphorism, the rhythms of the daily, the fit our new orld.w 180 Writing Narrative Journalism in the Age of Nonfiction Laboratory S-Town and other Serialized Stephen O’Connor Podcasts Open, Seminar—Spring Ann Heppermann This course is for students who want to break free of Open, Seminar—Spring the conventions of the traditional essay and memoir We are living in “The Golden Age of Narrative Audio.” and discover a broader range of narrative and Shows like This American Life, Radiolab, More stylistic possibilities available to nonfiction writers. Perfect, and numerous other story-driven shows not During the first half of the semester, students will only dominate podcasts and airwaves but also have read and discuss examples of formally innovative created the paradigm for emerging shows like 99% nonfiction that will serve as the inspiration for brief Invisible, Love + Radio, and many others. We’ve also assignments. Completed assignments will also be entered the age of the serialized podcast with read aloud and discussed each week. During the limited-run series like Missing Richard Simmons, second half of the semester, students will workshop Heaven’s Gate, S-Town, and others put out by podcast longer pieces that they will have written in companies like Gimlet, Panoply, First Look Media, consultation with the instructor as a part of their Pineapple Street Media, and WNYC Studios. This class conference work. Most readings will be found in The will teach students the practicalities of how Next American Essay, edited by John D’Agata, or in narrative radio journalism in the age of serialized the photocopied handout. But we will also read and podcasting works, while we explore what this discuss Alejandro Zambra’s short, brilliant book, narrative movement means for the future of audio Multiple Choice. journalism. Students will learn practicalities—e.g.,. pitching both multipart and narrative pitches by Workshop in Personal Essay using actual “call for stories" from studios and Jacob Slichter shows like This American Life, Radiolab, Nancy, and Open, Seminar—Spring from podcasting companies like Pineapple Street We write personal essays to learn about ourselves, to Media and Gimlet; the fundamentals of how to face our demons, to understand what entangles us, record and mix stories using the latest digital editing to expose the lies that we have allowed ourselves to technology; what narrative editors expect in a series; believe, to recognize what we are running away the skills necessary for a podcast internship. We will from, to find insight, and/or to tell the truth. This also reflect on the theoretical and ethical workshop is designed for students interested in considerations for this “Golden Age of Narrative doing that work and learning to craft what they have Audio.” We will ask questions like: How does written so that their readers can share in their imposing narrative structures affect nonfiction learning. We will learn to read as writers, write as storytelling? How do narrative shows deal with readers, and, where relevant, draw connections ethical missteps? What does it mean to have “a between writing and other creative fields such as voice”? Does it matter who gets to tell the story? music and film. (Answer on the last question, “Yes.” We’ll discuss why.) Producers, editors, and freelancers for This American Life, Radiolab, and Pineapple Street Media A Question of Character: The Art of will visit the class to provide insight into their shows the Profile and answer student questions. The class will also Alice Truax take a field trip ot Gimlet or Pineapple Street Media Open, Seminar—Spring to see podcasting in action. Ann Heppermann, the Any writer who tries to capture the likeness of professor, is a Peabody award-winning radio reporter another—whether in biography, history, journalism, and United States Artists Fellow who has been or art criticism—must face certain questions. What working in the field orf 15 years. Her work has aired makes a good profile? What is the power dynamic on shows around the world, including: This American between subject and writer? How does a subject’s Life, Radiolab, Studio360, Marketplace, 99% Invisible, place in the world determine the parameters of what and Snap Judgment. She is a senior producer at may be written about him or her? To what extent is Pineapple Street Media and also produced the any portrait also a self-portrait? And how can the Heaven’s Gate podcast. complexities of a personality be captured in several thousand—or even several hundred—words? In this course, we will tackle the various challenges of profile writing such as choosing a good subject, interviewing, plotting, obtaining and telescoping THE CURRICULUM 181 biographical information, and defining the oler of Poetry Workshop: Rebels, Wizards, place in the portrait. Students will be expected to Sirens, Outlaws share their own work, identify what they admire or despise in other writers’ characterizations, and learn Tina Chang to read closely many masters of the genre: Daphne Open, Seminar—Fall Merkin, Malcolm Gladwell, Gay Talese, and Janet Poetry is oftentimes driven by a mysterious force Malcolm. We will also turn to shorter forms of that prompts the imaginative writer to rebel, writing—personal sketches, brief reported disobey, lie, tell fantastic truths, subvert, make new, pieces—to further illuminate what we mean when or forge an entirely new path in ways that feel both we talk about “identity” and “character.” The goal of expansive and combustible. We will ground the this course is less to teach the art of profile writing student by delving into individual books that will than to make us all more alert to the subtleties of help the writer become more knowledgeable about the form. the history in which they are a part. We will concentrate on in-class writing and critique, poetic experiments, wild meanderings, and manifestos. A Eco-Poetry book a week will be read, followed by in-depth Marie Howe discussions on craft, style, voice, vision, structure, Open, Seminar—Year and song. Poets we will read include Allen Ginsberg, In this poetry class—a yearlong school of poetry and Sylvia Plath, Amiri Baraka, Jose Garcia Villa, Patricia the Earth—we will consider the great organism Gaia, Smith, James Dickey, Lucie Brock-Broido, Shane of which we are a part. We will read the long and rich McCrae, John Berryman, Danez Smith, and others. tradition of poetry addressing itself to this subject, Students are expected to write and read consistently, from the early indigenous peoples through the Zen experiment, and be passionate about creation. Take- monks and Wordsworth and right up through Gary home assignments will accompany readings. A Snyder and to utterly contemporary poets such as revision portfolio and final chapbook will be due Brenda Hillman and Chase Twitchell. We will also during the semester. Students will have the read books and articles that teach us about the opportunity to meet and converse with established physical world. We will wonder how eco-poetry is poets whose work we will be studying. different from nature poetry. We will practice one and then the other. Each student will research an Masks, Personas, and The Literal I: aspect of the natural world and incorporate that knowledge into documentary poems. Each student A Poetry Workshop will present his/her knowledge and poems to the Jeffrey McDaniel class community as a conference project each Open, Seminar—Fall semester. We will read books of poems but also In this writing workshop, we will read books by poets watch films, akt e field trips, and meet with each who utilize masks and personas to explore depths of other outside of class. By the end of the class, my honesty, thought, and feeling that might otherwise hope is that each of us will have a greater be off-limits. We will consider the different ways in understanding of the great organism that we call which a character may be created and inhabited via Earth and will create a collection of poems that syntax, diction, emotional crescendos and deflations, engage the questions that our class raises: What is associative leaps, metaphors, and tonal shifts. We time? What is death? What is Eden? Where is the will also read books by poets who collapse the space garden now? Who are the other organisms? How between poetic speaker and author, employing a have we, as a species, affected the other organisms? more literal I. We will strive to come to a richer How have we affected the oceans, the earth, the air? understanding of the possibilities of the first person. How can poetry address the ecological crisis? Students will be asked to create their own mask, a Required for this class: intellectual curiosity, constructed first person ot breathe and speak empathy, and a willingness to observe the world—to through, and also to write poems in the mind/throat/ pay attention and to write poetry that heart of a more literal I. The reading class will be matters—beyond the individual self. This is a class roughly a book of poetry a week. There will be a for experienced writers, as well as for those who number of short response essays to the reading. want to give writing poetry a try. All are welcome. Students will be expected to write and rewrite with passion and vigor, turning in a new first draft each week and a final manuscript of six ot 10 poems. Class time will be split evenly between discussing outside 182 Writing reading and student work. This class will be good for said—and how allowing space for the unspeakable both workshop veterans and those who have been can result in a kind of haunting in a poem. Each class harboring an urge to give poetry a try. will begin with the discussion of an outside text and then move on to the workshopping of students’ Hybrids of Poetry and Prose: A poems. Texts we will be reading and examining include James E. Young’s essay, as well as writings by Multigenre Creative Workshop Jacques Derrida, Mark Fisher, Darian Leader, excerpts Jeffrey McDaniel from Laura Oldfield orF d’s ‘zines Savage Messiah, Open, Seminar—Fall excerpts from films, ontc emporary artwork, and, of One of the exciting literary developments in recent course, poetry. Readings from poetry may include years is the plethora of work that refuses easy work by Cathy Song, Fred Moten, Dionne Brand, categorization created by authors such as Maggie Denise Riley, Helene Dunmore, Sean Bonney, Novalis, Nelson, Jenny Offill, and Eula Biss. Our syllabus will be and the fragments of Hölderlin. composed of texts that blur the lines of genre. We will consider architecture, diction, association, metaphor, and other issues of craft. Students will be Poetry: What Holds The Unsayable required to write critical responses to the reading Marie Howe and to bring in a new piece of writing each week. For Open, Seminar—Spring workshop, students can submit poetry, fiction, Poems are not merely feelings, the poet Ranier Maria creative nonfiction, or anything in between. We will Rilke has written, but experiences. What is the aim to locate a piece’s heat—its linguistic, difference between a feeling and an experience? figurative, and musical energy—and consider how How can a poem become an experience? How can a that energy might be developed, or maximized, in poem, originating from the personal, transcend the subsequent drafts and to what effect. Half of each personal? How can writing the poem transform the class will be devoted to discussing the weekly writer? Every poem holds the unsayable. How does a reading; the other half will be spent discussing poem do that? How can we attempt to do student work. Occasionally, we will do in-class that—using words? If you are interested in these writing exercises that emphasize intuition and questions, take this course. The course is open to chance and steer students toward a place of experienced writers, as well as to absolute hybridity. In the spring semester, students will work beginners. If you are interested in these questions, on hybrid projects of their own. A background in you are welcome. This is a reading/writing course. creative writing is not essential to taking this class; We will spend time every week reading poems that a willingness to read and write and take creative have already been published (by dead poets and risks is. living poets) to see how they were made: music, syntax, line, sound, and image. We might spend time generating new work in class through exercises and A Kind of Haunting: A Poetry experiments. And we will spend time looking closely Workshop at one another’s work, encouraging each other to Cynthia Cruz take risks and to move even closer to the mystery of Open, Seminar—Spring the poem. Each writer in the class will meet with In James E. Young’s essay, “Daniel Libeskind’s Jewish another class member once a week on a “poetry Museum in Berlin: The Uncanny Arts of Memorial date.” Each writer will be responsible for reading the Architecture,” Young describes Libeskind’s designing assigned work and for bringing to class one written of the Jewish Museum in Berlin and how essential to offering each week. We will work hard, learn a great its design was the folding in of fragment, void, deal about poetry and about our own poems, and interruption, and other iterations of rupture. Of have a wonderful time. Libeskind’s project, Young writes “His drawings for the museum thus look more like the sketches of the Poetry: The Creative Process museum’s ruins, a house whose wings have been scrambled and reshaped by the jolt of genocide. It is Kate Knapp Johnson a devastated site that would now enshrine its broken Open, Seminar—Spring forms.” In this poetry workshop, we will examine the The novelist Willa Cather stated that real “artistic different ways in which poetry can allow for what growth” is a continuing refinement of our wno cannot be articulated—either because there are approach toward “truth-telling.” Emily Dickinson simply no words to convey what must be said or wrote: “Tell all the Truth, but Tell it Slant.” In this because the speaker cannot utter what must be poetry workshop, we will read and write, bearing in mind questions about the creative process, THE CURRICULUM 183 metaphor, truth, and truthfulness. Is a fact the Less is More: On Camera Performance (p. 54), Doug truth? Is metaphor a lie? How does telling it “slant” MacHugh Filmmaking and Moving Image Arts help our poems evoke or enact rather than state (a Creating the Web Series (p. 54), Doug MacHugh poem is never reportage) how and why? We will read Filmmaking and Moving Image Arts and discuss essays on creative approaches to Advanced Projects In Writing for the Screen (p. 53), writing; on poetics, prosody, memory (metaphor?), Frederick Michael Strype Filmmaking and and revision—also reading a variety of poems across Moving Image Arts traditions, cultures, and contemporary poets of Television Writing: Writing the Spec Script (p. 52), different styles and aesthetics. To read IS to write! If Marygrace O’Shea Filmmaking and Moving you are not reading, you are not writing! A workshop Image Arts is the best place for risk-taking and mistake-making. Writing for Television: Advanced Projects (p. 52), We are here to help one another become better Marygrace O’Shea Filmmaking and Moving readers and writers, each in our own voice, with Image Arts passion and compassion. Requirements: class Food, Agriculture, Environment, and participation, attendance, conference meetings, a Development (p. 61), Joshua Muldavin “chapbook” of revised poems (no fewer than eight Geography poems per semester), and an annotated book log due Introduction to Development Studies: The Political each semester. Ecology of Development (p. 62), Joshua Muldavin Geography Other courses of interest are listed below. Full First-Year Studies: (Making) World Literature (p. 85), descriptions of the courses may be found under the Heather Cleary Literature appropriate disciplines. 17th-Century British Literature (p. 88), William Shullenberger Literature Paris, City of Light and Violence (p. 4), Robert R. The Bible and Literature (p. 87), William Desjarlais Anthropology Shullenberger Literature Images of India: Text/Photo/Film (p. 16), Sandra The Literature of Fact: Journalism and Robinson Asian Studies Beyond (p. 87), Nicolaus Mills Literature Pilgrimage and Tourism: South Asian Eight American Poets (Whitman to Ashbery) (p. 91), Practices (p. 17), Sandra Robinson Asian Studies Neil Arditi Literature Writing India: Transnational Narratives (p. 15), First-Year Studies: The Senses: Art and Sandra Robinson Asian Studies Science (p. 124), Elizabeth Johnston Psychology Bulletproof Screenwriting (p. 53), Frederick Michael Narrative in Contemporary Painting (p. 167), Vera Strype Filmmaking and Moving Image Arts Iliatova Visual and Studio Arts Documentary Filmmaking: Truth, Freedom, and First-Year Studies: The New Narrative Bearing Witness (p. 47), Damani Baker Photography (p. 165), Joel Sternfeld Visual and Filmmaking and Moving Image Arts Studio Arts

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

Samuel Abrams Politics Gillian Adler Literature AB, Stanford University. AM, PhD, Harvard University. BA, Barnard College. MA, University of York, UK. PhD, Visiting fellow at the American Enterprise Institute in University of California, Los Angeles. Special Washington, DC; faculty fellow at George Mason's interests in Chaucer, medieval English and European Institute for Humane Studies; faculty fellow at literature, narrative temporality, and philosophies of Center for Advanced Social Science Research at NYU; time. SLC, 2018- and member of the Council on Foreign Relations. A Cameron C. Afzal Religion (on leave spring graduate of Harvard University’s Kennedy School of semester) Government Program on Inequality and Social Policy BA, Grinnell College. MA, McGill University. MDiv, Yale and a former affiliate of Harvard's Canada Program University. PhD, Columbia University. Active member and Institute for Quantitative Social Science. Main of the Society of Biblical Literature and the American topics of research include social policy, inequality, Academy of Religion, as well as the Catholic Biblical international political economy, and comparative Association; has written on the Apocalypse of John and American politics; special interest in network and has taught broadly in the fields of New analysis, the media, Congress, political behavior, Testament and Early Christianity, Judaism in the urban studies and cities, public opinion and survey Second Temple Period, the Hebrew Bible, and Late research, political communication and elections, and Antique Christian Mysticism. SLC, 1992– the social nature of political behavior. Conducted fieldwork throughout Europe and North America. Glenn Alexander Music (Guitar) Authored three books and numerous peer-reviewed BA, Witchita State University. Acclaimed jazz, rock, and popular press works. Two substantial projects blues guitarist, composer, and vocalist. Performs are presently in progress: a deep-dive into American internationally with the world’s finest musicians and 186 Faculty entertainers. Recorded CDs, albums, TV, and Emily Katz Anhalt Classics, Greek, Latin, Literature commercials. Served as jazz professor at Witchita AB, Dartmouth College. PhD, Yale University. Primary State University and taught at The New School. Band interests are Greek epic and lyric poetry, Greek leader, Shadowland. SLC, 2017– historiography, Greek tragedy, and Greek and Roman sexuality. Publications include Solon the Singer: Andrew Algire Music (African Percussion) Politics and Poetics (Lanham, MD, 1993), as well as University of Wisconsin. Currently, musical director several articles on the poetics of metaphor in Homer of the New York-based Feraba African Rhythm Tap; and on narrative techniques in Herodotus. SLC, 2004– works with a number of groups, including The Mandingo Ambassadors, Kakande, The Afro-yorkers, Neil Arditi Literature Saida Fikri, and others. Performs locally and BA, Yale University. MA, PhD, University of Virginia. internationally with several African recording artists, Special interest in British Romantic poetry, Romantic including Sekouba Bambino and Oumou Dioubate. legacies in modern and contemporary poetry, and Traveled to Europe, Cuba, Guinea, and Mali to study the history of criticism and theory. Essays published and perform; received composition grants from in Raritan, Parnassus, Keats-Shelley Journal, various New York arts foundations. Residencies Philosophy and Literature, and Jewish-American throughout New York and New England. SLC, 2017– Dramatists and Poets. SLC, 2001–

Abraham Anderson Philosophy Damani Baker Filmmaking and Moving Image Arts AB, Harvard College. PhD, Columbia University. BA, Sarah Lawrence College. BA, MFA, University of Fellowships at École Normale Supérieure and the California-Los Angeles, School of Film and Television. University of Munich. Interests in philosophy and Selected by Filmmaker Magazine as one of “25 new history of science, history of modern philosophy, and faces in independent film,” his career spans the Enlightenment. Author of The Treatise of the documentaries, music videos, museum installations, Three Impostors and the Problem of Enlightenment, and advertisements. Documentaries include The as well as articles on Kant, Descartes, and other House on Coco Road, which revisits the events and topics. Contributor to the new Kant-Lexikon. Has circumstances of the 1983 US invasion of Grenada, taught at the Collège International de Philosophie, and Return, an award-winning film that xplore es the St. John’s College, Instituto de Investigaciones genius of traditional African medicine. Directed Filosóficas, and elsewhere. SLC, 2007– music videos for Maiysha’s single, “Wanna Be,” which was nominated for a 2009 Grammy, and Chris Anderson Music (Trumpet) Morley’s “Women of Hope,” which was inspired by BM, Manhattan School of Music. Lead trumpet and pro-democracy activist Aung San Suu Kyi. As a horn arranger: Southside Johnny and The Asbury director, commercial clients have included Nike/ Jukes, Allman Brothers Band; Beacon Theater Wieden & Kennedy and their 2006 World Cup “Play Residency, 2003-2015. Co-founder, New York Horns. Beautiful” campaign and IBM. Shot several viral Lead trumpet: Donald Fagen New York Rock and Soul campaigns for Puma, Wired Magazine, BMW, and Revue, 1991-92; Hector Lavoe, 1986-88; Ray Barretto, Apple for Late Night and Weekends. His first eatf ure 1981-1986. Touring: Bruce Springsteen, Jon Bon Jovi, documentary, Still Bill, on the life and music of Bill Celia Cruz, Marc Anthony, Illinois Jacquet Big Band, Withers opened theatrically in New York, Los Little Kids Rock Gala House Band, Michael Bolton, Angeles, and Chicago. Still Bill had its television Shadowland, S’Killit. Broadway: Movin’ Out, In The premiere on Showtime and has been seen on outlets Heights, Swing, The Full Monty, Beehive, Bring in ‘da globally, including BBC. In 2010, he shot Music for Noise Bring in ’da Funk. SLC, 2017– Andrew Zuckerman, a series of interviews with 50 prominent musicians, and directed two more videos William Anderson Music (Guitar) in Morocco for Morley. Current projects include more BA, SUNY-Purchase. Performed at Tanglewood than 10 films orf museums in Nigeria and in Festival and with the Metropolitan Opera Chamber Chattanooga, Tennessee, for Ralph Appelbaum Players, Chamber Music Society of Lincoln Center, Associates, Inc. These films include interviews with and New York Philharmonic. Guest on WNYC Leonard President Bill Clinton, Dr. Kofi Annan, and President Lopate Show. Featured on NPR’s All Things Ellen Johnson Sirleaf. In addition, he is the director of Considered, where excerpts of his composition were the Quest forGlobal Healing Film Series in Bali, broadcast throughout the United States. His Djuna Indonesia, and media collaborator with the Barnes settings were orchestrated and performed by International Budget Partnership, tracking the Riverside Symphony in 2015. Founder of Cygnus government transparency through budgets around Ensemble. SLC, 2017– the world. SLC, 2003– FACULTY 187

Jen Baker Music (Trombone) America; North America. Recipient of grants and BM, Oberlin Conservatory. MFA, Mills College. fellowships from US Department of Education, Trombonist/composer. Awards: ASCAP Plus Award, Fulbright, and National Science Foundation. SLC, 2012, 2013; Meet the Composer award, 2012. Member, 2009–2017, 2018 International Alliance of Women Musicians, International Society of Improvised Music, and Jo Ann Beard Writing International Trombone Association. Author: Hooked BFA, MA, University of Iowa. Essayist and creative on Multiphonics. (July 2016). Collaborates with nonfiction writer; author of In Zanesville, a novel, and artists throughout the world in site-specific, mixed- The Boys of My Youth, a collection of media performances, concert halls, solo and autobiographical essays, as well as essays/articles chamber commissions. Featured on the soundtrack published in magazines, journals, and anthologies. to Werner Herzog's Oscar-nominated Encounters at Recipient of a Whiting Writers’ Award and a the End of the World. Toured with Arijit Singh, Karole Guggenheim Fellowship. SLC, 2000–2005, 2007– Armitage, Mansour, new music ensembles S.E.M. and Igor Begelman Music (Clarinet) TILT brass, and the mobile ensemble Asphalt BM, Manhattan School of Music. MM, The Juilliard Orchestra (founding member). SLC, 2017– School. Artist Diploma, The Juilliard School. Recipient Yevgeniya Baras Visual and Studio Arts of an Avery Fisher Career Grant, soloist with major BA, MS, University of Pennsylvania. MFA, School of orchestras in the United States and abroad, including the Art Institute of Chicago. Baras exhibited her work Houston Symphony, L’Orchestre de la Suisse in several New York and Los Angeles galleries and Romande, Orchestra of St. Luke’s, and I Musici de internationally. She is represented by Nicelle Montreal, among many others. Appeared at Beauchene Gallery in New York. She received the Caramoor, Ravinia, Marlboro, Tanglewood, and Pollock-Krasner grant and the Chinati residency in Schleswig-Holstein festivals. Provides regular master 2018 and the Yaddo residency in 2017. She received classes throughout the United States. Formerly a the Artadia Prize and was selected for the Sharpe- professor of clarinet at North Carolina School of the Walentas Studio Program and the MacDowell Colony Arts and director of the Woodwind Program at residency in 2015. In 2014, Baras was named the Bowdoin International Music Festival; also teaches at recipient of the Rema Hort Mann Foundation’s Brooklyn College and Lehman College. SLC, 2017– Emerging Artist Prize. Her work has been reviewed in Roy Ben-Shai Philosophy The New York Times, The Los Angeles Times, BA, Tel-Aviv University, Israel. MA, PhD, New School ArtForum, and Art in America. She has taught for Social Research. Interests in 19th- to 20th- painting, drawing, and art history at Rhode Island century Continental philosophy—in particular, School of Design, CUNY, and Hofstra University. SLC, Nietzsche, Heidegger, and French post- 2018- structuralism—and in the history of modern Carl Barenboim Psychology philosophy. Editor of The Politics of Nihilism: From the BA, Clark University. PhD, University of Rochester. Nineteenth Century to Contemporary Israel. Former Special interest in the child’s developing ability to recipient of an Andrew W. Mellon postdoctoral reason about the social world, as well as the relation fellowship at Haverford College. Previously taught at between children’s social thinking and social Eugene Lang College (NY), Bifrost University behavior; articles and chapters on children’s (Iceland), Fairfield University (CT), and Stony Brook perspective-taking, person perception, interpersonal University (NY). SLC, 2018– problem solving, and the ability to infer carelessness Chester Biscardi Music in others; past member, Board of Consulting Editors, BA, MA, MM, University of Wisconsin. MMA, DMA, Yale Developmental Psychology; principal investigator, University. Composer. Recipient: Rome Prize from grant from the National Institute of Child Health and American Academy in Rome, Academy Award in Human Development. SLC, 1988– Music and Charles Ives Scholarship from American Deanna Barenboim Anthropology Academy and Institute of Arts and Letters, and Aaron BA, Sarah Lawrence College. MA, PhD, University of Copland Award; fellowships from Bogliasco Chicago. Special interests in political/legal Foundation, Djerassi Foundation, Guggenheim anthropology and medical/psychiatric anthropology; Foundation, Japan Foundation, MacDowell Colony, transnational migration, diaspora, and mobilities; and Rockefeller Foundation (Bellagio), as well as race, ethnicity, and indigeneity; urbanism, space, grants from Fromm Music Foundation at Harvard, and place; expressive culture; new media; Maya Koussevitzky Music Foundation in the Library of peoples, languages, and cultures; Mexico and Latin Congress, Martha Baird Rockefeller Foundation, Meet 188 Faculty the Composer, National Endowment for the Arts, and Design. Blow composed the sound score for I New York Foundation for the Arts, among others. Understand Everything Better by dancer and Music published by C. F. Peters, Merion Music, Inc. of choreographer David Neumann, in which Blow also Theodore Presser Company, and Biscardi Music Press performed; the piece won a 2015 New York Dance and distributed by Classical Vocal Reprints and and Performance “Bessie” Award for Outstanding Theodore Front Musical Literature, Inc. Recordings Production. Blow’s most recent production with appear on the Albany, American Modern Recordings, Royal Osiris Karaoke Ensemble, The Art of Luv Part I: Bridge, CRI (New World Records), Furious Artisans, Elliot, premiered in The Public Theater’s Under the Intim Musik (Sweden), Naxos, New Albion, New Ariel, Radar Festival in January, 2016; it was reviewed in North/South Recordings, Perfect Enemy Records, and The New York Times. Royal Osiris Karaoke Ensemble is Sept Jardins (Canada) labels. Director of the Sarah the recipient of a 2016 Creative Capital award. SLC, Lawrence College Music Program, 1987-2017, and the 2016– first ecipientr of the William Schuman Chair in Music. SLC, 1977– Patti Bradshaw Dance BM, University of Massachusetts. Certified ogay Lucas Blalock Visual and Studio Arts union instructor and Kinetic Awareness instructor. BA, Bard College. Skowhegan School of Painting and Taught at The New School, and Fundação Calouste Sculpture. MFA, UCLA. Exhibited at the Hammer Gulbenkian; workshops at New York University, The Museum, Center for Creative Photography, Dallas Kitchen, hospitals, and various schools and studios in Museum of Art, Contemporary Arts Museum Houston, New York and Greece. Dancer, choreographer, and Marian Goodman Gallery, Hauser and Wirth, and maker of puppet theatre. Work shown at St. Ann’s MoMA PS1. Solo exhibitions: Ramiken Crucible (New Warehouse in 2005 and 2006. SLC, 2000– York), Rodolphe Janssen (Brussels), White Cube (London), Peder Lund (Oslo), and White Flag Projects Marcus Anthony Brock Literature (St. Louis). Work featured in numerous publications, BA, University of California, Los Angeles. MCM, including Art in America, The New York Times, The University of Southern California, Annenberg School New Yorker, Frieze, W, Mousse, Monopol, and for Communication and Journalism. PhD (ABD), Stony Aperture, among others. Artist books: SPBH VII (2014), Brook University. An emphatic purveyor of culture, Inside the White Cub (2014), WINDOWS MIRRORS aesthetics and the human condition. Research TABLETOPS (2013), Towards a Warm Math (2011), and interests include visual culture, Afrofuturism, media I Believe You, Liar (2009). Published writing about art and communications, gender and sexuality, arts and photography includes a growing body of essays, education, subculture, postcolonialism, sartorial experimental writings, and interviews, including symbolism, queer studies, and social justice. SLC, conversations with Zoe Crosher (Aperture 2012), Jeff 2018- Wall (Aperture 2013), and Torbjorn Rodland (Mousse Bella Brodzki Literature 2014), as well as a recent essay rethinking the BA, Sarah Lawrence College. MA, Hebrew University. camera as a drawing tool (Foam 2014). SLC, 2015– PhD, Brown University. Special interests in critical Tei Blow Theatre and cultural theory, gender studies, postcolonial A performer and media designer born in Japan, studies, translation studies, autobiography and life raised in the United States, and based in Brooklyn, narrative, and modernist and contemporary fiction. New York, Blow’s work incorporates photography, Selected scholarly publications include essays in video, and sound with a focus on found media PMLA, MLN, Yale French Studies, Studies in Twentieth- artifacts. He has performed and designed for The Century Fiction, Yale Journal of Criticism, Modern Laboratory of Dmitry Krymov, Mikhail Baryshnikov, Fiction Studies, Profils Américains, and in collections Jodi Melnick, Ann Liv Young, Big Dance Theater, David such as Borderwork: Feminist Engagements with Neumann, and Deganit Shemy & Company. He also Comparative Literature; Women, Autobiography, and performs as Frustrator on Enemies List Recordings Fiction: A Reader; Critical Cosmos: Latin American and is one-half of Royal Osiris Karaoke Ensemble. Approaches to Fiction; Feminism and Institutions: A Blow’s work has been featured at Hartford Stage, Dialogue on Feminist Theory; and MLA Approaches to Dance Theater Workshop, Lincoln Center Festival, The Teaching Representations of the Holocaust. Author of Kitchen, BAM, The Public Theater, Kate Werble Can These Bones Live?: Translation, Survival, and Gallery, Baryshnikov Arts Center, Wadsworth Cultural Memory; co-editor of Life/Lines: Theorizing Atheneum, and at theatres around the world. He is Women’s Autobiography. Recipient of National the recipient of a 2015 New York Dance and Endowment for the Humanities fellowships, Lucius Performance “Bessie” Award for Outstanding Sound FACULTY 189

Littauer Award, and Hewlett-Mellon grants. Visiting into a half-dozen languages and frequently professor at Université de Montpellier-Paul Valéry anthologized; winner of the Edward Lewis Wallant and Université de Versailles-St. Quentin. SLC, 1984– Award and other prizes; stories published in Antaeus, The Paris Review, and other magazines; essays Adam Brown Sara Yates Exley Chair in Teaching published in The New York Times, Washington Post, Excellence—Psychology (on leave yearlong) Los Angeles Times, and other newspapers. SLC, 1993– BA, University of Oregon. MA, PhD, New School for Social Research. Postdoctoral Fellow, Weill Medical Gary Burnley Visual and Studio Arts (on leave spring College of Cornell University. Director of the Sarah semester) Lawrence College Cognition and Emotion Laboratory. BFA, Washington University. MFA, Yale University. Solo Clinical psychologist with special interests in and group exhibitions in the United States and clinical, cognitive, and neuroscientific approaches to Europe; works included in major private, corporate, memory and emotion, post-traumatic stress disorder and museum collections; awards and fellowships (PTSD), resilience, social influences on memory, the include the Federal Design Achievement Award, construction of autobiographical memory and self- National Endowment for the Arts, New York State identity, and international mental health. Recipient Council, and CAPS; public commissions include the of grants from the National Institutes of Health, US MTA and St. Louis Bi-State Development. SLC, 1980– Department of Defense, Fulbright, and private foundations. Adjunct assistant professor, New York David Caparelliotis Theatre University School of Medicine. SLC, 2009– Lorayne Carbon Director, Early Childhood Kyle Bukhari Dance Center—Psychology BA, Columbia University. MA, University of BA, State University of New York-Buffalo. MSEd, Bank Roehampton, London. Danced with the Joffrey Ballet Street College of Education. Special areas of interest in New York and the Zurich Ballet in Switzerland. include social justice issues in the early childhood Winner: Best German Dance Solo (1998). Created classroom and creating aesthetic learning choreographies for the Augsburg City Theatre; environments for young children. Former early Saarland State Theatre in Saarbrucken; the childhood teacher and director at Oak Lane Child Tanzfabrik Berlin in Germany; the Centennial of Care Center, Chappaqua, New York, and education Monte Verità in Ascona, Switzerland (2000); the coordinator of the Virginia Marx Children’s Center of Swiss Contemporary Dance Days, Lausanne (2002); Westchester Community College. Adjunct professor, the Amman Contemporary Dance Festival, Jordan; Westchester Community College; workshop leader at and The Season in Beirut, Lebanon (2004). seminars and conferences on early childhood Choreographed and performed at the Whitney education. SLC, 2003– Museum in Berlin Sun Theater with anthropologist Rochelle Cassells Psychology Michael Taussig (2013) and at the Museum of the BA, Temple University. MA, PhD, Cornell University. City of New York (2014). Currently collaborates with Developmental psychologist with special interests in Jodi Melnick and Yanira Castro. Has taught at the environmental and family contexts that Barnard College, Pratt University, Joffrey Ballet influence child development, namely the physical School, Zurich Dance Theatre School, and Tanzhaus and psychosocial environment of poverty. Areas of Zurich. US-UK Fulbright Fellow in Dance in London, academic specialization include the impact of serial United Kingdom (2013-14). Presentations at Columbia migration on the dynamics of Caribbean families; in University; University of Ghent, Belgium; University of particular, the effects of migration-induced Groningen, Holland; Video Art Festival, Camaguey, maternal separation on the attachment bonds and Cuba; and Center for Ballet and the Arts, New York socioemotional and cognitive outcomes of University (2014-16). Current research focuses on immigrant children. Additional interests include the dance philosophy and intermediality in works of use of positive psychology to promote college- artists such as Yvonne Rainer, Richard Serra, Michael student wellness, particularly in areas of building Clark, and Charles Atlas. SLC, 2016– resilience and combatting stress. SLC, 2018- Melvin Jules Bukiet Writing David Castriota Mary Griggs Burke Chair in Art & Art BA, Sarah Lawrence College. MFA, Columbia History—Art History University. Author of Sandman’s Dust, Stories of an BA, New York University. MA, MPhil, PhD, Columbia Imaginary Childhood, While the Messiah Tarries, After, University. Special interests in Greek art of the Signs and Wonders, Strange Fire, and A Faker’s Dozen; classical and Hellenistic periods, Roman art of the editor of Neurotica, Nothing Makes You Free, and late republic and early empire, and the art of Scribblers on the Roof. Works have been translated 190 Faculty prehistoric Europe; author of Myth, Ethos, and Priscilla Chen Spanish Actuality: Official Art in Fifth-Century B.C. Athens, The BA, State University of New York-Stony Brook. MA, Ara Pacis Augustae and the Imagery of Abundance in Queens College. Currently completing a doctorate in Later Greek and Early Roman Imperial Art, and a Spanish literature at the Graduate Center of the City critical commentary on Alois Riegl’s Problems of University of New York. Special interests include Style: Foundations for a History of Ornament; editor Golden Age peninsular literature, Latin American of Artistic Strategy and the Rhetoric of Power: literature and culture in general, and fiction. SLC, Political Uses of Art from Antiquity to the Present; 2004– recipient of fellowships from the Dumbarton Oaks Center for Early Christian and Byzantine Art and the Eileen Ka-May Cheng History (on leave spring Society of Fellows of Columbia University and of semester) grants from the National Endowment for the BA, Harvard University. MA, MPhil, PhD, Yale Humanities and the American Philosophical Society. University. Special interest in early American history, SLC, 1992– with an emphasis on the American Revolution and the early American republic, European and American William Catanzaro Dance intellectual history, and historiography. Author of Composer and multi-instrumentalist; recognition The Plain and Noble Garb of Truth: Nationalism and and funding from NEA, The Samuel S. Fels Fund, New Impartiality in American Historical Writing, York State Council on the Arts, Harkness Foundation, 1784-1860; author of articles and book reviews for NYU Humanities Council, NYU Service/Learning Fund; History and Theory, Journal of American History, commissions include choreographers Anna Sokolow, Reviews in American History, and Journal of the Early Steve Paxton, Viola Farber, Milton Myers; work Republic. SLC, 1999– presented nationally and internationally with the New Danish Dance Theatre, TanzFabrik Berlin, Kim Christensen Economics Amsterdam Theatreschool, Cyprus Festival, Teatro BA, Earlham College. PhD, University of San Martin, The Alvin Ailey School, Philadanco, Massachusetts-Amherst. Taught economics and Player’s Project, Dallas Black Theatre, Jacob’s Pillow, women’s/gender studies (1985-2010) at SUNY- DTW, and others. Former accompanist and teacher of Purchase, where she received several awards for her music for dancers at The Juilliard School, Marymount teaching: four-time recipient of the Students’ Union Manhattan College, José Limón School, Martha Award for Outstanding Teaching in the Letters and Graham School, New York University. Current faculty Sciences; the first ecipientr of the President’s Award at The Alvin Ailey School and Steps on Broadway; for Innovative Pedagogy; and, in 1992, recipient of music director for the Young Dancemakers Company. the statewide SUNY Chancellor’s Award for SLC, 2003– Distinguished College Teaching. Taught economics, labor history, and public policy as a guest faculty Tina Chang Writing member at Sarah Lawrence College. Research MFA, Columbia University. Poet, Brooklyn poet focuses on the intersection of economics with public laureate, and author of Half-Lit Houses and Of Gods & policy issues, with a particular emphasis on issues of Strangers; co-editor of the anthology Language for a race, gender, class, and labor; e.g., the experiences of New Century: Contemporary Poetry From the Middle low-income women in the AIDS crisis, the politics of East, Asia, and Beyond (W.W. Norton, 2008). Poems welfare “reform,” the “gendered” nature of the have appeared in American Poet, McSweeney’s, The recent recession, and the impact of our campaign New York Times, Ploughshares, Quarterly West, and finance system on public policy. SLC, 2008– Sonora Review, among others. Recipient of awards from the Academy of American Poets, the Barbara Una Chung Hyman H. Kleinman Fellowship in the Deming Memorial Fund, The Ludwig Vogelstein Humanities—Literature Foundation, The New York Foundation for the Arts, BA, University of California-Berkeley. PhD, Graduate Poets & Writers, and The Van Lier Foundation, among Center of the City University of New York. Special others. SLC, 2005– interests include Asian American and postcolonial literatures, new media studies, and critical theory. Persis Charles History (on leave spring semester) SLC, 2007– BA, Bryn Mawr College. MA, Brown University. PhD, Tufts University. Special interest in modern social Heather Cleary Spanish and women’s history, with particular emphasis on BA, MA, New York University. PhD, Columbia British and French history. SLC, 1977– University. Special interests include contemporary Latin American culture, the theory and practice of translation, and creative production in the digital FACULTY 191 age. Essays published in Hispanic Review and Mutatis performed on many African stages in countries such Mutandis; translations published by New Directions as Senegal, Ivory Coast, Benin, and Cameroon. Since (Poems to Read on a Streetcar by Oliverio Girondo) 2000, the company has toured throughout Europe, and Open Letter Books (The Dark and The Planets by including France, Italy, Denmark, Spain, Belgium, and Sergio Chejfec). SLC 2015– Germany. Coulibaly and Badolo’s creations have won international awards, including the Pan-African Shamus Clisset Visual and Studio Arts competition SANGA. Recent work includes a solo BFA, The College of Santa Fe, New Mexico. Digital presented at Cornell, New York University, and artist and master printer working with 3D modeling, Stonybrook University, among other venues, and rendering, and multidisciplinary digital media. guest appearances with the internationally known Exhibitions include Galerie Jette Rudolph and Galerie Faso Dance Theatre. Featured artist in the Thomas Flor, both in Berlin, and Tracy Williams, Ltd. documentary, Movement (R)evolution Africa, which in New York. Recent projects include Empties at documents the emergent experimental African Caesura Gallery (Caesura.cc) and FakeShamus: dance scene. Recent work includes an ongoing, Manifest Destinaut, featured in BEAUTIFUL/DECAY multisite research collaboration with Emily Coates, Book 8: Strange Daze. As a master printer, he has leading to the creation of a work-in-progress duet produced exhibition prints for galleries and titled, Ici Ou Ailleurs. Taught at the University of museums all over the world, including MoMA, The Florida, Brown University, and Yale University. SLC Guggenheim, The Metropolitan Museum of Art, and 2016- SFMoMA. Recent highlights include prints for the Maurizio Cattelan retrospective at The Guggenheim Michael Cramer Film History and the first solo show of photographs by the late BA, Columbia University. MA, MPhil, PhD, Yale war photographer, Tim Hetherington, at Yossi Milo in University. Author of several articles on European New York. SLC, 2012– cinema and television and the book Utopian Television: Roberto Rossellini, Peter Watkins, and Kevin Confoy Theatre (on leave spring semester) Jean-Luc Godard Beyond Cinema (University of BA, Rutgers College. Certificate, London Academy of Minnesota Press, 2017). Special interests in film and Music and Dramatic Art (LAMDA). Graduate, The media theory, European cinema of the 1960s and Conservatory at the Classic Stage Company (CSC), ’70s, contemporary world cinema, the relationship of Playwrights Horizons Theatre School Directing cinema and television, documentary and nonfiction Program. Actor, director, and producer of Off cinema, and the politics of aesthetics. SLC, 2015– Broadway and regional productions; resident director, Forestburgh Playhouse; producer/producing Jay Craven Filmmaking and Moving Image Arts artistic director, Sarah Lawrence theatre program MA Goddard College. Writer/director/producer: High (1994-2008); executive producer, Ensemble Studio Water (w/Greg Germann, Jane MacFie); Where the Theatre, New York (1992-94); associate artistic Rivers Flow North (w/Rip Torn, Tantoo Cardinal, director, Elysium Theatre Company, New York Michael J. Fox); A Stranger in the Kingdom (w/ Ernie (1990-92); manager, development/marketing Hudson, Martin Sheen, David Lansbury); In Jest (w/ departments of Circle Repertory Company, New York. Bill Raymond, Tantoo Cardinal, Rusty DeWees); Windy Recipient of two grants from the Alfred P. Sloan Acres (w/ Ariel Kiley, Bill Raymond, Seana Kofoed, Foundation; OBIE Award, Outstanding Achievement Rusty DeWees); Disappearances (w/ Kris Off and Off-Off Broadway (producer, E.S.T. Marathon Kristofferson, Gary Famer, Charlie McDermott, of One-Act Plays); nomination, Drama Desk Award, Genevieve Bujold); Northern Borders (w/ Bruce Dern, Outstanding Revival of a Play (acting company); Genevieve Bujold, Seamus Davey-Fitzpatrick, Jessica director, first (original) productions of 13 published Hecht); Peter and John (w/ Jacqueline Bisset, plays. SLC, 1994– Christian Coulson, Diane Guerrero); Wetware (w/ Jerry O’Connell, Cameron Scoggins, Morgan Wolk). Lacina Coulibaly Dance Writer/director: The Year That Trembled (w/ Raised in Ouagadougou, Burkina Faso. Trained in Jonathan Brandis, Marin Hinkle, Fred Willard, Martin West African dance and European contemporary Mull). Documentaries include After the Fog, Dawn of dance, dancing with the Ballet National du Burkina the People, Gayleen, and Approaching the Elephant Faso, Compagnie Salia Nï Seydou, and Irène (producer). Festivals and special screenings include: Tassambedo before co-founding Kongo Ba Teria with Sundance, SXSW, AFI Fest, Vienna, Vancouver, Souleymane Badolo. Reshaping traditional values to Avignon, Havana, Lincoln Center, Smithsonian, speak to present-day concerns, Kongo BaTeria is a Harvard Film Archives, Cinematheque Francaise, leading promoter of contemporary dance in West Constitutional Court of Johannesburg, and Africa. From 1996-2000, Compagnie Kongo Ba Téria 192 Faculty Cinemateca Nacional de Venezuela. Awards and Truth: A Story of Music and Revolution in Brazil recognition: Producers Guild of America NOVA Award; (Knopff, 2002). Taught at King’s College (London), Gotham Award nomination; two National Endowment Princeton, and Goucher College; the first esidentr for the Arts (NEA) film production grants; finalist, director of the Sarah Lawrence in Cuba program Critics Week, Cannes Film Festival; selection to the (2001-04). Currently at work on a bilingual edition of Sundance Collection at UCLA; NEA’s American short tales from the Spanish-speaking world. SLC, Masterpieces Program; American Film Institute’s 1997– initial “AFI: Project 20/20 International Cultural Exchange.” Founding director and producer of the Robert R. Desjarlais Anthropology Movies From Marlboro film-intensive program, where BA, University of Massachusetts-Amherst. MA, PhD, 24 professionals mentor and collaborate with 32 University of California-Los Angeles. Special interests students from a dozen colleges, including Sarah in the cultural construction of experience, Lawrence. SLC, 2017– subjectivity and intersubjectivity, death and mourning, and the political economy of illness and Drew E. Cressman Biology (on leave spring healing; ethnographic fieldwork in the Nepal semester) Himalayas, with the residents of a homeless shelter BA, Swarthmore College. PhD, University of in Boston, and among competitive chess players; Pennsylvania. Special interest in the molecular basis author of Body and Emotion: The Aesthetics of Illness of gene regulation and the control of gene and Healing in the Nepal Himalayas; Shelter Blues: expression; specifically focused on the control of Sanity and Selfhood Among the Homeless; Sensory antigen-presenting genes of the immune system and Biographies: Lives and Deaths Among Nepal’s Yolmo the subcellular localization of the regulatory protein Buddhists; and Counterplay: an Anthropologist at the CIITA; author of papers on mammalian liver Chessboard. Recipient of a Guggenheim fellowship regeneration and CIITA activity; recipient of grants and a Howard fellowship. NIMH postdoctoral from the Irvington Institute for Biomedical Research research fellow at Harvard Medical School. SLC, and the National Science Foundation. SLC, 2000 1994–

Cynthia Cruz Writing Ivi Diamantopoulou Visual and Studio Arts BA, Mills College. MFA, Sarah Lawrence College. Poet; MArch II, Princeton University School of Architecture author of Ruin (Alice James Books, 2006) and The (Suzanne Kolarik Underwood Prize for excellence in Glimmering Room (Four Way Books, 2012); recipient design; Stanley J Seeger fellow). BArch/MArch, Patras of fellowships from Yaddo, the MacDowell Colony, School of Architecture, Greece. New York-based and a Hodder Fellowship at Princeton University. designer and educator; co-principal of award- Work published in Isn’t it Romantic: 100 Love Poems winning firm, New Affiliates (new-affiliates.us). Her by Younger American Poets (Wave Books, 2004) and work has been exhibited at the Venice Architecture The Iowa Anthology of New American Poetries (The Biennial, Storefront for Art and Architecture, Onassis University of Iowa Press, 2004). SLC 2008– Cultural Center, Harvard Graduate School of Design, and various small galleries internationally. As a Michael Davis Philosophy designer, she has collaborated with art and BA, Cornell University. MA, PhD, Pennsylvania State architecture institutions, including the Jewish University. Interests in Greek philosophy, moral and Museum of New York, the Metropolitan Museum of political philosophy, and philosophy and literature; Art, the Shed, and the Canadian Centre for author of many books, most recently The Architecture. Her design work and writings have Autobiography of Philosophy, a translation of appeared in various periodicals in the United States, Aristotle’s On Poetics, and Wonderlust: Ruminations Europe, and Asia including, Metropolis magazine, The on Liberal Education; member, editorial board, Architect’s Newspaper, Dwell, and Domus. SLC, 2018– Ancient Philosophy; lecturer, essayist, and reviewer. SLC, 1977– David Diamond Theatre

Isabel de Sena Spanish, Literature Carlo Diego Filmmaking and Moving Image Arts MA, University of California–Berkeley. PhD, University MFA, Lehman College. Digital multimedia artist with of California–Santa Barbara. Published works on late 10 years of production experience as a UX/UI medieval and early Renaissance Peninsular designer and lead animator. Past list of clients/ literature, as well as Latin American literature collaborations include: Fox, ABC, BoomGen Studios, (Sarmiento, Altamirano, Manuel de Jesús Galván). Little Tiger NYC, Possible Worlds, Emphasis Design, Among her translations: Virginia Woolf’s Between the and The Gowanus Canal Conservancy. Author of Intro Acts (into Portuguese) and Caetano Veloso’s Tropical to 3D Modeling on Skillshare, he has taught classes in FACULTY 193 digital multimedia, Web design, and environmental Aurora Donzelli Anthropology 3D modeling. He is currently completing a certificate BA, MA, University of Pavia, Italy. PhD, University of program at Harvestworks in Max/MSP/Jitter and Milano-Bicocca, Italy. Special interests in linguistic producing a body of work with glitch media, virtual anthropology, political oratory and ritual speech, reality, and augmented reality. SLC, 2017- vernacular practical philosophies, ethnopoetics, missionization, and the emergence of colonial Mary Dillard Director, Graduate Program in Women’s discourse genres; ethnographic fieldwork in History—History Southeast Asia (upland Sulawesi and East Timor); BA, Stanford University. MA, PhD, University of author of several articles on language and ethnicity, California-Los Angeles. Special interests include local theories of action, power and emotions, verbal history of West Africa, particularly Ghana and art, and language ideologies. FCT postdoctoral Nigeria; history of intelligence testing and external research fellow at Institute of Theoretical and examinations in Africa; history of science in Africa; Computational Linguistics in Lisbon, and Endangered and gender and education. Recipient of a Spencer Languages Academic Programme (SOAS) in London. fellowship and Major Cultures fellowship at Columbia SLC, 2009– University’s Society of Fellows in the Humanities. SLC, 2001– Charlotte L. Doyle Psychology BA, Temple University. MA, PhD, University of Beth Ann Ditkoff Biology Michigan. A generalist in psychology with special BA, Yale University. MD, The Johns Hopkins School of interests in the creative process, psychological Medicine. Former surgical oncologist at New York- theory, and children’s literature. Articles written on Presbyterian Hospital, Columbia University Medical the creative process in art, the fiction-writing Center; Department of Surgery, College of Physicians episode, facilitating creativity in children, and the & Surgeons, Columbia University. Author of The definition of psychology. Books include Explorations Thyroid Guide (HarperCollins, 2000) and Why Don’t in Psychology (a textbook) and seven picture books Your Eyelashes Grow? Curious Questions Kids Ask for children: Hello Baby, Freddie’s Spaghetti, Where’s About the Human Body (Penguin, 2008). SLC, 2010– Bunny’s Mommy?, You Can’t Catch Me, Twins!, Supermarket!, and The Bouncing Dancing Galloping Natalia Dizenko Russian ABC. SLC, 1966– Jerrilynn Dodds Harlequin Adair Dammann Chair in Jan Drucker Director, Child Development Institute’s Islamic Studies—Art History Empowering Teachers Program—Psychology BA, Barnard College. MA, PhD, Harvard University. BA, Radcliffe College. PhD, New York University. Work has centered on issues of artistic Clinical and developmental psychologist with interchange—in particular, among Christians, Jews, teaching and research interests in the areas of and Muslims—and how groups form identities developmental and educational theory, child through art and architecture; special interest in the development, parent guidance, clinical assessment arts of Spain and the history of architecture. Author and therapy with children and adolescents, and the of Architecture and Ideology in Early Medieval Spain development of imaginative play and other symbolic and NY Masjid: The Mosques of New York and co- processes in early childhood and their impact on author of Arts of Intimacy: Christians, Jews, and later development. Professional writings have Muslims in the Making of Castilian Culture, among centered on various forms of early symbolization in other books and publications. Dean of the College, development and in clinical work with children. SLC, 2009-15. SLC, 2009– 1972– Roland Dollinger German, Literature Scott Duce Filmmaking and Moving Image Arts BA, University of Augsburg, Germany. MA, University BFA, University of Utah. MFA, Boston University. Visual of Pittsburgh. PhD, Princeton University. Special artist with multiple awards and grants, including a interest in 20th-century German and Austrian National Endowment for the Arts artist grant. literature; author of Totalität und Totalitarismus: Das Exhibitions include solo exhibits in New York City, Exilwerk Alfred Döblins and several essays and book Chicago, Atlanta, Boston, and internationally in Paris, reviews on 19th- and 20th-century German Barbizon, Florence, and Lima. Notable collections literature; co-editor of Unus Mundus: Kosmos and include Random House, General Electric, IBM, Sympathie, Naturphilosophie, and Philosophia McGraw-Hill, Petroplus Holdings (Switzerland), Naturalis. SLC, 1989– Seagram‘s (Montreal), and US Embassy (Stockholm). 194 Faculty Currently producing work for exhibitions, creating University Press, 2018), examines the impact of hand-drawn animated shorts, and developing a various state-making projects on local experiences series of e-book artist catalogues. SLC, 2012– of place and belonging in the desert region linking Egypt and Libya during the late 19th and early 20th Glenn Dynner Religion centuries. Broader intellectual and teaching BA, Brandeis University. MA, McGill University. PhD, interests include: the politics and culture of Brandeis University. Scholar of East European Jewry, nationalism, modernity and identity formation in the with a focus on the social history of Hasidism and Ottoman and post-Ottoman Arab world, cities and the Haskalah (Jewish Enlightenment). Author of Men imagined urbanism, nostalgia and the politics of of Silk: The Hasidic Conquest of Polish Jewish Society, collective memory, popular culture, the which received a Koret Publication Award and was a historiography of borderlands, comparative British National Jewish Book Awards finalist. Received and French empires, and the history of geography textual training in several Israeli yeshivas and the and cartography. Articles published in History Hebrew University of Jerusalem. Additional interests Compass and The Long 1890s in Egypt: Colonial include Polish-Jewish relations, Jewish economic Quiescence, Subterranean Resistance (Edinburgh history, and popular religion. Recipient of the University Press, 2014). Research was supported by Fulbright Award. Member (2010-11), Institute for grants from the Social Science Research Council and Advanced Study, Princeton University. SLC, 2004– the American Research Center in Egypt. Recipient of a Fulbright-IIE grant to Egypt. Member of the Jason Earle French, Literature (on leave yearlong) American Historical Association and the Middle East AB, University of Chicago. MA, MPhil, PhD, Columbia Studies Association of North America. SLC, 2012– University. Area of specialization: 20th-century French literature. Dissertation on secret societies Brian Emery Filmmaking and Moving Image Arts and conspiracies in interwar French literature. BA, Sarah Lawrence College. FAMU (film school), Research interests include 19th- and 20th-century Czech Republic. As technical director of the French literature and cultural history, literature and Filmmaking & Moving Image Arts Program at Sarah politics, history and theory of the novel, and the Lawrence College, he oversees the equipment and avant-garde. SLC, 2012– technology resources of the program and manages a team of student workers. He is an Apple-certified Michael Early Theatre trainer in both Final Cut Pro 7 and X and a certified BFA, New York University Tisch School of the Arts. trainer in Blackmagic DaVinci Resolve. Emery has MFA, Yale University School of Drama. Extensive taught camera, editing, and production workshops at experience in Off Broadway and regional theatre, the New York International Film Institute since 2006 television, and commercials; artist-in-residence, and at Sarah Lawrence College since 2008. His Oberlin College. SLC, 1998– freelance filmmaking and editing clients include June Ekman Theatre TED, YouTube Creator Studios, AbelCine, and Kodak, BA, Goddard College, University of Illinois. ACAT- among others. Recent editing projects have garnered certified Alexander Technique Teacher, 1979. Inventor film estivalf success, received the Jury Award by the of an ergonomic chair, the Sit-a-Round. Taught the DGA East, and screened both nationally and Alexander Technique in many venues: the Santa Fe internationally. Emery has served as camera Opera, Riverside Studios in London, Utrecht in The operator and editor for several Sarah Lawrence Netherlands; dancer, Judson Dance Theatre, Alwin projects, including the Web series Socially Active and Nikolais, Anna Halprin, and others; direction and Providers and the feature film Elusive. He was the choreography Off Broadway; appeared in Innovation cinematographer and colorist on the feature film Red (PBS); Off-Off Broadway Review Award, 1995-1996. Monsoon, shot on location in Kathmandhu, Nepal. His SLC, 1987– own short films have been screened at dozens of film estivalsf all over the world. SLC, 2018- Matthew Ellis Christian A. Johnson Endeavor Foundation Chair in Middle Eastern Studies and Beverly Emmons Dance International Affairs—History (on leave spring BA, Sarah Lawrence College. Designed lighting for semester) Broadway, Off Broadway, regional theatre, dance, BA, Williams College. MPhil, University of Oxford. MA, and opera in the United States and abroad. Broadway PhD, Princeton University. Specializes in the social, credits include Annie Get Your Gun, Jekyll & Hyde, The intellectual, and cultural history of the modern Heiress, Stephen Sondheim’s Passion, and The Middle East. His first book, Desert Borderland: The Elephant Man. Her lighting of Amadeus won a Tony Making of Modern Egypt and Libya (Stanford award. Worked at the John F. Kennedy Center, the FACULTY 195

Guthrie, Arena Stage, and the Children’s Theatre of Directed in colleges, as well as Off Broadway, and Minneapolis. Off Broadway, she lit Vagina was the artistic director and co-founder of the New Monologues; worked for Joseph Chaikin and Meredith York Team for TheatreSports. Performed in comedy Monk; and for Robert Wilson, Einstein on the Beach improvisation throughout the world. SLC, 1991– and The Civil Wars, Part V. Her designs for dance include works by Martha Graham, Trisha Brown, Alvin Kim Ferguson (Kim Johnson) Interim Dean for Ailey, and Merce Cunningham. Received seven Tony Graduate Studies, Roy E. Larsen Chair in nominations, the 1976 Lumen award, 1984 and 1986 Psychology—Psychology Bessies, a 1980 Obie for Distinguished Lighting, and BA, Knox College. MA, PhD, Cornell University. Special several Maharam/American Theatre Wing design interests include cultural-ecological approaches to awards. SLC, 2011– infant and child development, children at risk (children in poverty, HIV/AIDS orphans, children in Margarita Fajardo Alice Stone Ilchman Chair in foster care and institutionalized care), health and Comparative and International Studies cognitive development, and development in African —History contexts. Areas of academic specialization include BA, Universidad de los Andes, Bogotá, Colombia. MA, infant categorization development and the PhD, Princeton University. Historian of modern Latin influences of the task, the stimuli used, and infants’ America, especially of Brazil, Chile, and Colombia. culture, language, and socioeconomic status on their Interested in researching, writing, and teaching performance; infant face processing in African and histories of capitalism from Latin America and the American contexts; and relationships between the Global South. She is currently working on her first quality of southern African orphan care contexts and book, tentatively titled The World that Latin America child outcomes. SLC, 2007– Created, which traces the origins of dependency theory—one of the most important paradigms of Angela Ferraiolo Visual and Studio Arts economic development and globalization. Focusing BLS, SUNY–Purchase. MFA, CUNY Hunter College. MFA, on a transnational network of economists and Brown University. Professional work includes RKO, sociologists, diplomats and policymakers whose H20 Studios, Westwood Studios, Electronic Arts, nexus was the United Nations Economic Commission Hansen Literary. Solo and group screenings in the for Latin America (ECLA in English and CEPAL in United States and Europe, including SIGGRAPH (Los Spanish and Portuguese), the book examines the Angeles), ISEA (Hong Kong), New York Film Festival, transformation of ideas about economic Courtisane Festival (Ghent), Collectif Jeune Cinéma development and capitalism in the three decades (Paris), Copacabana Media Festival (Ghent), after World War II. The book challenges widespread Australian Experimental Film Festival (Melbourne), assumptions about the origins and scope of International Conference of Generative Art (Rome), dependency theory and recasts the political project Digital Fringe (Melbourne), Die Gesellschafter of regional intellectuals in the global sphere. Article Filmwettbewerb (Germany), Granoff entC er for the published in the Latin American Research Review and Arts (Providence), Microscope Gallery (Bushwick), an edited volume on The Developmental State Nouspace Gallery (Vancouver), D-Art Gallery (Cambridge University Press, forthcoming). Broader (London), International Conference on Information research and teachings interests include: history and Visualization (Montpellier), International Conference theory of capitalism, imperialism and global history, of Computer Graphics, Imaging and Visualization colonial and modern Latin America, politics of (Taiwan), and TechFest (Mumbai). Interests include knowledge and science, and the dynamics of interaction design, narrative, immersive policymaking. SLC, 2015- environment, playability, mobile art, experimental video, generative art, installation, media Christine Farrell Director, Program in architecture, and new media urbanism. SLC, 2010– Theatre—Theatre (on leave spring semester) BA, Marquette University. MFA, Columbia University. Carolyn Ferrell Writing (on leave spring semester) One-Year Study Abroad, Oxford, England. Actress, BA, Sarah Lawrence College. MA, City College of New playwright, director. Appeared for nine seasons as York. Author of the short-story collection, Don’t Erase Pam Shrier, the ballistics detective on Law and Order. Me, awarded the Art Seidenbaum Award of the Los Acting credits on TV include Saturday Night Live and Angeles Times Book Prize, John C. Zachiris Award One Life to Live; films, Ice Storm, Fatal Attraction; given by Ploughshares, and Quality Paperback Book stage: Comedy of Errors, Uncle Vanya, Catholic School Prize for First Fiction. Stories anthologized in Best Girls, Division Street, The Dining Room. Two published American Short Stories 2018; The Best American plays: Mama Drama and The Once Attractive Woman. Short Stories of the Century; Giant Steps: The New Generation of African American Writers; The Blue 196 Faculty Light Corner: Black Women Writing on Passion, Sex, history of architecture, and art and architectural and Romantic Love; and Children of the Night: The theory. Author of articles on Italian 16th-century Best Short Stories by Black Writers, 1967 to the drawings, French painting of the 17th century, and Present. Recipient of grants from the Fulbright American 19th-century architecture. SLC, 1978– Association, German Academic Exchange (D.A.A.D.), City University of New York MAGNET Program, and T. Griffith Foulk Religion National Endowment for the Arts (Literature fellow BA, Williams College. MA, PhD, University of Michigan. for 2004). SLC, 1996– Trained in Zen monasteries in Japan; active in Buddhist studies, with research interest in Elisabeth Fink History philosophical, literary, social, and historical aspects BA, Columbia University. MA, PhD, New York of East Asian Buddhism, especially the Ch’an/Zen University. Historian of West Africa, France, and tradition. Co-editor in chief, Soto Zen Text Project decolonization. Fink is currently working on her first (Tokyo); American Academy of Religion Buddhism book, provisionally titled Decolonization and the Section steering committee, 1987–1994, 2003–; Ballot Box: Social Mobilization in Postwar French West board member, Kuroda Institute for the Study of Africa. The project examines mid-20th-century Buddhism and Human Values. Recipient of Fulbright, politics from the perspective of labor unions, Eiheiji, and Japan Foundation fellowships and grants women’s movements, youth groups, and political from American Council of Learned Societies and parties. As African leaders struggled to mobilize National Endowment for the Humanities. SLC, 1995– constituencies across class, ethnic, gender, and regional lines, they debated what postcolonial Melissa Frazier Associate Dean of the Africa’s relationship should be to the Islamic world, College—Russian, Literature the francophone world, and the Third World. AB, Harvard University. PhD, University of Elections, which the French expanded in an effort to California–Berkeley. Special interests include the maintain colonial rule after World War II, emerged as 19th-century novel and literature and the literary the central site of political mobilization in French marketplace. Author of articles and books on topics West Africa. The work situates anticolonial struggle including Pushkin, Senkovskii, Gogol, Tolstoy, and into the longue durée of African political life. Fink Russian Formalism. Awarded the 2007 Jean-Pierre has taught widely in African, European, and world Barricelli Prize for “Best Work in Romanticism history. Her broader interests include the history of Studies,” by the International Conference of labor, gender, and decolonization. SLC, 2018- Romanticism, for Romantic Encounters: Writers, Readers, and the “Library for Reading” (Stanford Barbara Forbes Dance University Press, 2007). SLC, 1995– Royal Academy of Dancing, London. Institute of Choreology, London. Imperial Society of Teachers of Will Frears Theatre Dancing, London: Cecchetti Method. Previously on Sarah Lawrence College. Yale School of Drama. Film: faculty of National Ballet School of Canada, Alvin Coach, All Saints’ Day (winner, best narrative short, Ailey School, New York University, and Finis Jhung Savannah Film Festival), Beloved. Off Broadway: Year Studio. Ballet mistress and teacher: Joffrey Ballet, Zero (Second Stage Uptown), Still Life (MCC), New Orleans Ballet, and Chamber Ballet USA. Rainbow Kiss (The Play Company), The Water's Edge Currently Feldenkrais practitioner at Feldenkrais (Second Stage), Pen (Playwrights Horizons), Learning Center, New York City. SLC, 2000– Terrorism (The New Group/The Play Company), Omnium Gatherum (Variety Arts), Where We’re Born Emma Forrester Psychology and God Hates the Irish (both at Rattlestick BA, Sarah Lawrence College. PhD, Derner School of Playwrights Theatre), Get What You Need (Atlantic Psychology, Adelphi University. Clinical psychologist 453), and Kid-Simple (Summer Play Festival). with special interests in complex trauma, post- Regional: Build at the Geffen Playhouse; Some Lovers traumatic growth, trauma recovery across the at the Old Globe Theatre; Romeo & Juliet, Bus Stop, lifespan, and psychodynamic approaches to working The Water's Edge, and A Servant of Two Masters at with trauma and neurodevelopmental delays. SLC, the Williamstown Theatre Festival; The Pillowman at 2018- George Street Playhouse; Hay Fever and The Price at Baltimore CenterStage; Sleuth at the Bay Street Joseph C. Forte The Esther Raushenbush Chair—Art Theatre; Our Lady of 121st Street (Steppenwolf History Theatre); Omnium Gatherum (Actor’s Theatre of BA, Brooklyn College. MA, MPhil, PhD, Columbia Louisville). Artistic Director: Yale Cabaret University. Special interest in art and architecture of (1999-2000). Recipient of Boris Sagal and Bill Foeller the Italian Renaissance and the 17th century, the FACULTY 197 directing fellowships. Contributor to The Paris Emilia Gambardella Italian Review, New York Magazine, Harper’s, and The BA cum laude, Smith College. MA, The Graduate London Review of Books. SLC, 2010– Center, CUNY. Research interests include: Southern Italian literature and dialect culture, American and Merideth Frey Physics Italian film and elevision,t seriality, animation, film BA, Wellesley College. PhD, Yale University. Past theory, and popular culture. SLC, 2017– research in novel magnetic resonance imaging (MRI) techniques for 3D imaging of solids and using optical Suzanne Gardinier Writing magnetometry for low-field nuclear magnetic BA, University of Massachusetts-Amherst. MFA, resonance (NMR). Current research involves building Columbia University. Author of 12 books, most a low-field magnetic esonancr e setup to explore recently Amérika: The Post-Election Malas 1-9 (2017), cross-disciplinary MR applications and develop new Notes from Havana (2016), Carta a una compañera MR techniques at low magnetic fields. Previously (2016), Homeland (2011), Iridium & Selected Poems taught courses at Wesleyan University and Princeton (2010), & Letter from Palestine (2007). Her poetry has University, including helping develop investigative appeared in Grand Street, The New Yorker, and the science learning environment physics labs. SLC, Wolf magazine in the United Kingdom; her fiction in 2016– The Paris Review & Fiction International’s “Artists in Wartime” issue; and her essays in The Manhattan Marek Fuchs Ellen Kingsley Hirschfeld Chair in Review, The Progressive, & Siècle 21 in Paris. Served Writing—Writing on an American Studies Association Panel called BA, Drew University. Executive Director of The “American Jews, Israel, & the Palestinian Question,” Investigative Journalism and Justice Institute at and as resident director of the Sarah Lawrence Sarah Lawrence College. “County Lines” columnist College study abroad program in Havana. A recipient for The New York Times for six years and also wrote of awards from the New York Foundation for the Arts columns for The Wall Street Journal's “Marketwatch” and the Lannan Foundation. SLC, 1994– and for Yahoo!. Author of A Cold-Blooded Business, a book called “riveting” by Kirkus Reviews. His most Beth Gill Dance recent book, Local Heroes, also earned widespread BA, New York University’s Tisch School of the Arts. A praise, including from ABC News, which called it choreographer, Gill has been making contemporary “elegant…graceful…lively and wonderful.” Recipient dance and performance in New York City since 2005. of numerous awards and named the best journalism Her body of work critically examines issues within critic in the nation by Talking Biz website at The the fields of ontc emporary dance and performance University of North Carolina School of Journalism and studies through a focused exploration of aesthetics Mass Communication. Regularly speaks on business and perception. Gill has been commissioned by New and journalism issues at venues ranging from annual York Live Arts, The Chocolate Factory Theater, The meetings of the Society of American Business Editors Kitchen, and Dance Theater Workshop. Her and Writers to PBS and National Public Radio. When performances have toured nationally and not writing or teaching, he serves as a volunteer internationally at Fusebox, the Nazareth College Arts firefighter. SLC, 2010– Center Dance Festival, and Dance Umbrella. She is a 2012 Foundation for Contemporary Art grant Izumi Funayama Japanese recipient, a current member of The Hatchery Project BA, Waseda University, Japan. MA, Ohio University. ,and a 2015-2016 Lower Manhattan Cultural Council PhD, The University of Texas-Austin. Doctoral Extended Life Artist in Residence. In 2011, Gill was Dissertation: Intercultural experiences and practices awarded two New York State Dance and Performance in a Chinese-Japanese joint venture: A study of “Bessie” Awards for Outstanding Emerging narratives and interactions about and beyond Choreographer and the Juried Award for “the “Chinese” and “Japanese.” Associate professor, choreographer exhibiting some of the most Kumamoto University, Japan; certified professional interesting and exciting ideas happening in dance in co-active coach, Coach Training Institute; certified New York City today.” She was also awarded a designer and facilitator of LEGO Serious Play Method; 2013-2015 New York City Center choreography certified instructor, Omotesenke tea ceremony. fellowship. In 2012, Dance Magazine named Gill one Recipient of Grants-in-Aid for Scientific esearR ch, of the top 25 artists to watch. Guest artist at Barnard The Ministry of Education, Culture, Sports, Science College, Eugene Lang College at the New School for and Technology, Japan. Interests include Liberal Arts, and Arizona State University. SLC, 2017– intercultural communication, ethnography, narrative analysis, discourse analysis, intercultural training, and intercultural coaching. SLC, 2014– 198 Faculty Graeme Gillis Theatre music. Conducted film soundtracks and worked as Artistic director of Youngblood, the company of producer in recording studios. Formerly on the emerging playwrights at Ensemble Studio Theatre faculty of the Composers Conference at Wellesley (2012 Obie Award). Director of the E.S.T./Sloan College. 2010 Recipient of the Lipkin Family Prize for Project, a $1.5 million program that fosters plays Inspirational Teaching. SLC, 1998– about science, technology, and economics. Worked as a playwright at theatres throughout the United Peggy Gould Anita Stafford Chair in Service States and Canada, including E.S.T. (Youngblood, Learning—Dance Marathon of One-Act Plays), Rattlestick, Cherry Lane, BFA, MFA, New York University, Tisch School of the Vampire Cowboys, Williamstown Theatre Festival, Arts. Certified eachert of Alexander Technique; Source Theatre (DC), Tarragon Theatre (Toronto). assistant to Irene Dowd; private movement Published by Dramatists Play Service and Applause education practice in New York City. Other teaching Books. Member of the Actors Studio and E.S.T. SLC, affiliations: Smithollege, C The Ailey School/Fordham 2013– University, Dance Ireland/IMDT, 92nd St. Y/Harkness Dance Center, SUNY Purchase (summer), Jacob’s Myla Goldberg Writing Pillow. Performances in works by Patricia Hoffbauer BA, Oberlin College. Author of the best-selling novel and George Emilio Sanchez, Sara Rudner, Joyce S. Lim, Bee Season (2000), which was adapted to film and David Gordon, Ann Carlson, Charles Moulton, Neo was a New York Times Notable Book, winner of the Labos, T.W.E.E.D., Tony Kushner, Paula Josa-Jones. Borders New Voices Prize, finalist orf the NYPL Young Choreography presented by Dixon Place, The Field, PS Lions Award and the Hemingway Foundation/PEN 122, BACA Downtown (New York City); Big Range award. Author of the novels Wickett’s Remedy (2005) Dance Festival (Houston); Phantom Theater (Warren, and The False Friend (2010) and of the essay Vermont); Proctor’s Theatre (Schenectady, 2008/09 collection Time’s Magpie (2004) and the children’s Dangerous Music Commission). Grants: Meet the book Catching the Moon (2007). Short stories have Composer, Lower Manhattan Cultural Council, appeared in Harper’s. 2013 recipient of a Sustainable Harkness Dance Center. SLC, 1999– Arts Foundation grant. SLC, 2008- Robert Gould Theatre Myra Goldberg Writing MFA, Sarah Lawrence College. Active in performance BA, University of California–Berkeley. MA, City art and theatre since the mid-1980s, starting as University of New York. Author of Whistling and technical director at The Franklin Furnace Rosalind: A Family Romance; stories published in performance space. Co-founded DSR, a sound journals, including The Transatlantic Review, performance group, and toured Japan and Europe in Ploughshares, Feminist Studies, The Massachusetts the late ’80s and early ’90s. Assistant Technical Review and The New England Review, and in the book Director for the SLC theatre program prior to starting anthologies Women in Literature, Powers of Desire, his own sound design company. Sound design credits and The World’s Greatest Love Stories and elsewhere include: work for Off Broadway theatre companies, in the United States and France; nonfiction published including Naked Angels, Clubbed Thumb, Cucaracha in Village Voice and elsewhere; recipient of and Gabrielle Lansner; in-house sound designer for Lebensberger Foundation grant. SLC, 1985– Ensemble Studio Theatre (1999–2003) and designed most of its yearly Marathon series productions of Martin Goldray Marjorie Leff Miller acultyF Scholar in one-act plays during those years; created sound for Music—Music dance choreographers Jeanine Durning, Hetty King, BA, Cornell University. MM, University of Illinois. DMA, Lans Gries, and Lisa Race; and currently is an audio Yale University. Fulbright scholar in Paris; pianist and engineer for CBS News. SLC, 2008– conductor, with special interests in 17th- through 20th-century music. Performed extensively and Sarah Hamill Art History recorded as pianist, soloist, chamber musician, and BA, Reed College. MA, University of California, conductor; performed with most of the major new Berkeley. PhD, University of California, Berkeley. music ensembles, such as the New Music Consort Specializes in modern and contemporary art history, and Speculum Musicae; worked with composers with a focus on sculptural aesthetics, postwar such as Babbitt, Carter, and numerous younger American sculpture, contemporary photography, and composers and premiered new works, including the global circulation of art objects through their many written for him. Toured internationally as a reproduction and display. Author of David Smith in member of the Philip Glass Ensemble from Two Dimensions: Photography and the Matter of 1983-1996; conducted the premieres of several Glass Sculpture (University of California Press, 2015), operas and appears on many recordings of Glass’s awarded a Meiss/Mellon Author’s Book Award and a FACULTY 199

Wyeth Foundation for American Art Publication Grant Modern Life (Graywolf, 2007), winner of the Kingsley from the College Art Association in 2013, and, with Tufts Award, a New York Times Notable Book of 2008, Megan R. Luke, co-editor of Photography and and a finalist orf the National Book Critics Circle Sculpture: The Art Object in Reproduction (Getty Award; and a children’s book, The Little General and Publications, 2017). Articles and essays explore the the Giant Snowflake, illustrated by Elizabeth Zechel work of David Smith’s (1906-1965) across media, the (Soft Skull Press, 2007). Contributing editor for photography of Ugo Mulas (1928-1973), the jubilat and BOMB. Has taught at Warren Wilson, the photographic folios of Clarence Kennedy (1892-1972), Pratt Institute, and the University of Houston. SLC, the sculpture of Eduardo Chillida (1924-2002), and 2004– the videos of Erin Shirreff (1977- ). Current projects examine the 1970s sculptures and films of American Mark Helias Music (Contrabass) sculptor Mary Miss (1944- ), contemporary Ann Heppermann Writing photography and the metaphorization of sculpture, A Brooklyn-based, independent, radio/multimedia and theories of the photographic detail. Formerly documentary producer, transmission sound artist, associate professor of modern and contemporary art and educator, her stories air nationally and at Oberlin College. Recipient of fellowships from the internationally on National Public Radio, the BBC, and American Council of Learned Societies, the Getty on numerous shows, including: This American Life, Research Institute, and Villa I Tatti, the Harvard Radio Lab, Marketplace, Morning Edition, Studio 360, Center for Italian Renaissance Studies. SLC, 2017– and many others. Recipient of Peabody, Associated Hilda Harris Music Press, Edward R. Murrow, and Third Coast BA, Doctor of Humane Letters, North Carolina Central International Audio Festival awards. Transmission University. Recipient of the President’s Medal for artist with free103point9; work exhibited at Distinguished Faculty Service from the Manhattan UnionDocs, Chicago Center for the Arts, and other School of Music. Taught voice at The Chautauqua venues. She has taught classes and workshops at Institute and at Howard University. Well-known for Duke Center for Documentary Studies, Smith College, her portrayal of trouser roles—the first African- Columbia University, and the CUNY Graduate School American to perform trouser roles at the of Journalism; for years, she was the director of radio Metropolitan Opera. Established herself as a singing at Brooklyn College. Co-creator of Mapping Main actress and has earned critical acclaim in opera, on Street, a collaborative media project documenting the concert stage, and in recital in America and in the nation’s more than 10,000 Main Streets, which Europe. Made her Metropolitan Opera debut as The was created through AIR’s MQ2 initiative along with Student in Lulu and also sang Cherubino (Le Nozze di NPR, the CPB, and the Berkman Center at Harvard Figaro), The Child (L’Enfant et les Sortileges), Siebel University. Her work has been funded by the (Faust), Stephano (Romeo et Juliette), Hansel (Hansel Corporation for Public Broadcasting, Association of & Gretel), and Sesto (Giulio Cesare). Her Independents, Arizona Humanities Council, and accomplishments have been documented in And So I Berkman Center for Internet and Society at Harvard. Sing by Rosalyn M. Story; Black Women in America, An Currently, she is a Rosalynn Carter for Mental Health Historical Encyclopedia; edited by Darlene Clark Journalism Fellow and will be making a multimedia Hines; The Music of Black Americans by Eileen documentary about preteen anorexia in partnership Southern, and African-American Singers by Patricia with Ms. Magazine and NPR. SLC, 2010– Turner. Discography includes: “Hilda Harris,” solo Luisa Laura Heredia Joanne Woodward Chair in album; “The Valley Wind,” songs of Hale Smith; “Art Public Policy—Public Policy Songs by Black American Composers,” album; “X, The BA, University of Notre Dame. MA, PhD, Harvard Life and Times of Malcolm X,” CD; “From the South University. Research interests include Latino and Land,” songs and Spirituals by Harry T. Burleigh, CD; immigration politics, with special interests in and “Witness,” Volume II, compositions by William migration control regimes, social movements, Grant Still, CD. Manhattan School of Music, 1991 - inequalities in citizenship, and religion in the United present, Manhattan School of Music Pre-College States and Spain. Current work compares the Faculty 2005 - present, SLC, 1992– development of US and Spain enforcement regimes, Matthea Harvey Writing their constructions of racialized “illegal” bodies, and BA, Harvard College. MFA, University of Iowa Writers’ their radical movements to dismantle the state’s Workshop. Poet, author of Pity the Bathtub Its Forced migration control practices. Her first book project, Embrace of the Human Form (Alice James Books, Illegal Redemption, investigates the crucial yet 2000); Sad Little Breathing Machine (Graywolf, 2004); contradictory role that the Catholic Church has played in challenging a growing and restrictive 200 Faculty regime of immigration control in the United States in Unsaid, The Black Warrior Review, The Brooklyn Rail, the contemporary period. Author of “From Prayer to and Swink. His work has been adapted for film and Protest: The Immigrant Rights Movement and the frequently anthologized, most notably in Best Catholic Church,” a chapter in the edited volume, American Fantasy 2 and 110 Stories: New York Writes Rallying for Immigrant Rights, by Irene Bloemraad After September 11th. SLC, 2002– and Kim Voss. SLC, 2014– K. J. Holmes Dance Michelle Hersh Biology (on leave fall semester) An independent dance artist, singer, poet, actor, and AB, Bryn Mawr College. PhD, Duke University. teacher, Holmes has helped to define—first as a Postdoctoral Research Associate, Bard College, Cary student and now as a teacher and performer—many Institute of Ecosystem Studies. Community ecologist contemporary improvisational dance practices, from with a special interest in the connections between studying Ideokinesis with Andre Bernard to colla- biodiversity and disease. Author of articles on how borating with forerunners Simone Forti, Karen fungal seedling pathogens maintain tree diversity in Nelson, Lisa Nelson, and Image Lab and Steve Paxton. temperate forests and how animal diversity alters She is a graduate of the two-year Sanford Meisner the risk of tickborne diseases. Recipient of grants acting training (Esper Studio with master teacher from the National Science Foundation. Previously Terry Knickerbocker 2008–09), Satya Yoga (Sondra taught at Bard College and Eastern Michigan Loring 2007), and The School for Body-Mind University. SLC, 2013– Centering (1995–99), of which the play between is essential to her current practices. A sought-after Sally Herships Writing teacher of improvisation and somatic approaches to An award-winning journalist who has been making dance, theatre, and voice, Holmes travels nationally radio for over a decade, she currently reports for and internationally teaching and performing at American Public Media’s Marketplace. She has also universities, festivals, and venues that range from produced or reported for ABC, BBC, The New York theatres to site-specific locations to living rooms; is Times, NPR, WNYC, and Studio 360 and has put in adjunct faculty at NYU/Experimental Theatre Wing many hours at Radiolab. Teaches writing for radio at since 2001, Julliard; teaches through Movement Columbia University’s Graduate School of Journalism; Research since 1986 (A.I.R 2012–14); and has a hosts the live storytelling night, Stories You Can’t Tell private practice in Dynamic Alignment and Re-inte- on the Radio; and runs the Radio Boot Camp program gration. She has performed in the work of Miguel at UnionDocs. Her investigative project, “The Five Gutierrez and the Powerful People, Emily Johnson/ Percent Rule,” written about HowSound, was Catalyst, Mark Dendy, Lance Gries, Melinda Ring, awarded the 2011 Third Coast Radio Impact Award Matthew Barney, and Cristiane Bouger and is and Best Prepared Report for the 2011 Front Page continuing to develop her solo work. SLC, 2017– Awards from the Newswomen’s Club of New York and was an IRE finalist. SLC, 2012– James Horowitz Literature BA, New York University. MA, PhD, Yale University. Niko Higgins Music Special interests include Restoration and 18th- BA, Wesleyan University. MA, MPhil, PhD, Columbia century literature, the history of the novel, film and University. Ethnomusicologist and saxophonist. film theory, political history, Henry James, and Interests in South Indian classical music and fusion, gender studies. SLC, 2008– jazz, world music, improvisation, globalization, cosmopolitanism, sound studies, and ecomusicology. Marie Howe Writing Author of two articles on South Indian fusion and BS, University of Windsor, Canada. MFA, Columbia leader and producer of two recordings. Taught at University. Chancellor to the Academy of American Columbia University, Montclair State University, and Poets; Poet laureate of New York State; author of The New School. Fulbright and Fulbright Hays Magdalene; author of The Good Thief, selected by recipient. SLC, 2015– Margaret Atwood for the National Poetry Series; editor, with Michael Klein, of In the Company of My David Hollander Writing Solitude: American Writing from the AIDS Pandemic; BA, State University of New York–Purchase. MFA, author of What the Living Do; recipient of the Peter I. Sarah Lawrence College. Author of the novel L.I.E., a B. Lavan Younger Poet Prize from the Academy of finalist orf the NYPL Young Lions Award. His short American Poets, the Mary Ingram Bunting fellowship fiction and nonfiction vha e appeared in dozens of from Radcliffe College, and grants from the National print and online forums, including McSweeney’s, Endowment for the Arts, the Massachusetts Artist Conjunctions, Fence, Agni, The New York Times Foundation, and the Guggenheim. SLC, 1993– Magazine, Poets & Writers, Post Road, The Collagist, FACULTY 201

Tishan Hsu Visual and Studio Arts (on leave fall California–Davis, and University of New Hampshire. semester) Recipient of residencies at Skowhegan School of Art BSAD, MArch, Massachusetts Institute of Technology. and Vermont Studio Center; awarded free studio Sculptor and painter; solo and group exhibitions in space in The Space Program at the Marie Walsh the United States, Mexico, and Europe; work included Sharpe Foundation, 2007/2008. SLC, 2014– in major private and museum collections, including at the Metropolitan Museum of Art, High Museum, John Isley Music Centre Georges Pompidou (Paris), and Centro Cultural Meghan Jablonski Psychology Arte Contemporaneo (Mexico City); honorary BA, Muhlenberg College. MA, PhD, The New School for member, board of directors, White Columns, New Social Research. Clinical psychologist with special York; recipient of grant from National Endowment interests in how important relationships shape for the Arts. SLC, 1994– development, experience, and well-being throughout Eleanor Hullihan Dance the lifespan and in the role of creative process, Performer, choreographer, and teacher, she has mindfulness, and restorative sleep in cultivating performed and created work with John Jasperse, resilience and wellness. Areas of experience include: Beth Gill, Jennifer Monson, Andrew Ondrejcak, Mike attachment theory and human bonding over the life Mills, Jessica Dessner, Sufjan Stevens, Lily Gold, span, relational psychoanalytic theory, brief Rashaun Mitchel, Silas Reiner, Charles Atlas, Zeena relational/psychodynamic psychotherapy and Parkins, and Tere O’Connor, among others. She cognitive-behavioral therapy research, sleep teaches Pilates and body conditioning at her private research, psychological and neuropsychological studio and American Ballet Theatre’s JKO training assessment, clinical practice across all levels of care program. She is currently creating new work with and in underserved communities, creative flow Jimmy Jolliff and Asli Bulbul. SLC, 2017– theory and mindfulness-based practices. Current work is focused on relating, reality, and rest in the Dan Hurlin Director, Graduate Theatre—Theatre, digital age. SLC, 2013– Dance BA, Sarah Lawrence College. Performances in New John Jasperse Director, Dance Program—Dance York at Dance Theater Workshop, PS 122, La MaMa BA, Sarah Lawrence College. Founded John Jasperse E.T.C., Danspace, The Kitchen, St. Ann’s Warehouse, Company, later renamed John Jasperse Projects, in and at alternative presenters throughout the United 1989 and has since created 17 evening-length works States and the United Kingdom. Recipient of a Village through this nonprofit structure, as well as Voice OBIE Award in 1990 for solo adaptation of numerous commissions for other companies, Nathanael West’s A Cool Million and the 2000 New including Baryshnikov’s White Oak Dance Project, York Dance and Performance (“Bessie”) Award for Batsheva Dance Company, and Lyon Opera Ballet. Everyday Uses for Sight, Nos. 3 & 7. Recipient of John Jasperse Projects have been presented in 24 US fellowships from National Endowment for the Arts, cities and 29 countries by presenters that include New Hampshire State Council on the Arts, and the Brooklyn Academy of Music, The Joyce Theater, Guggenheim (2002–2003) and of grants from New York Live Arts, Dance Theater Workshop, The Creative Capital, Rockefeller Foundation, New York Kitchen, Walker Art Center, Museum of Contemporary State Council on the Arts, Mary Cary Flagler Art Chicago, American Dance Festival, La Biennale di Charitable Trust, and the New England Foundation Venezia, Dance Umbrella London, Montpellier Danse, for the Arts. Recipient of the Alpert Award in the Arts and Tanz im August Berlin. Recipient of a 2014 Doris for Theatre, 2004. Former teacher at Bowdoin, Duke Artist Award, two Bessie awards (2014, 2001), Bennington, Barnard, and Princeton. SLC, 1997– and multiple fellowships from US Artists, Foundation for Contemporary Arts, Tides/Lambent Foundation, Vera Iliatova Visual and Studio Arts Guggenheim Foundation, New York Foundation for BA, Brandeis University. MFA, Yale University. the Arts, and National Endowment for the Arts, in Represented by Monya Rowe Gallery in New York City, addition to numerous grants and awards for John venue of her fifth solo xhibitione in 2015. Work Jasperse Projects. On the faculty and taught at many included in numerous exhibitions in the United distinguished institutions nationally and States and abroad at venues that include: Galleria internationally, including Hollins University MFA, Glance, Torino, Italy; Mogadishni Gallery, Copenhagen; University of California–Davis, Movement Research, New Langton Art Center, San Francisco; Artist Space, PARTS (Brussels, Belgium), SEAD (Salzburg, Austria), New York; and David Castillo Gallery, Miami. Centre National de la Danse (Lyon, France), and Previously held full-time teaching appointments at Massachusetts College of Art, University of 202 Faculty Danscentrum (Stockholm, Sweden). Co-founder of Stolen in 2009. Also honored to be included in Curtain CPR (Center for Performance Research) in Brooklyn, Call: Celebrating 100 Years of Women in Design at the NY. SLC, 2016– New York Performing Arts Library. SLC 2012–

James Jeter Music Sibyl Kempson Theatre MFA, Brooklyn College. Kempson’s plays have been Kate Knapp Johnson Writing (on leave fall semester) presented in the United States, Germany, and BA, MFA, Sarah Lawrence College. NCPsyA, Norway. As a performer she toured internationally Westchester Institute. Special interests include from 2000-2011 with Nature Theater of Oklahoma, Jungian studies and religion; author of When Orchids New York City Players, and Elevator Repair Service. Were Flowers, This Perfect Life, and Wind Somewhere, Her own work has received support from the Jerome and Shade, which received the Gradiva Award; most Foundation, the Greenwall Foundation, National recently published in Ploughshares, The Salt Journal, Endowment for the Arts, and Dixon Place. She was Luna, and The Sun; recipient of New York Foundation given four Mondo Cane! commissions from for the Arts Award. SLC, 1987– 2002-2011 for The Wytche of Problymm Plantation, Crime or Emergency, Potatoes of August, and The Elizabeth Johnston Psychology Secret Death of Puppets). She received an MAP Fund MA, St. Andrew’s University, Scotland. DPhil, Oxford grant for her collaboration with Elevator Repair University. Special interests in human perception of Service (Fondly, Collette Richland) at New York three-dimensional shape, binocular vision, and the Theatre Workshop (NYTW), a 2018 PEN/Laura Pels perception of depth from motion; author of articles International Foundation for Theater Award for and book chapters on shape perception from American Playwright at Mid-Career (specifically stereopsis, sensorimotor integration, and combining honoring "her fine craft, intertextual approach, and depth information from different sources. SLC, 1992– her body of work including Crime or Emergency Kenneth G. Karol Biology and Let Us Now Praise Susan Sontag), and a 2014 USA BSc, University of Wisconsin-Madison. PhD, University Artists Rockefeller fellowship with NYTW and of Maryland-College Park. Research interest in director Sarah Benson. She received a 2013 Virginia B. molecular systematics, classification and evolution Toulmin Foundation commission for Kyckling and of green algae and land plants, and interest in Screaming (a translation/adaptation of Ibsen’s The organellar genome evolution. Currently an assistant Wild Duck), a 2013-14 McKnight National residency curator at the New York Botanical Garden’s Cullman and commission for a new play (The Securely Molecular Systematics Program, adjunct faculty Conferred, Vouchsafed Keepsakes of Maery S.), a New member at City University of New York, international Dramatists/Full Stage USA commission for a devised collector of algae, and author of more than 30 piece (From the Pig Pile: The Requisite Gesture(s) of papers and book chapters on algae and land plant Narrow Approach), and a National Presenters evolution. SLC, 2008– Network Creation Fund Award for the same project. Her second collaboration with David Neumann/ Kathy Kaufmann Dance Advanced Beginner Group, I Understand Everything BA, New York University. Lighting designer for dance Better, received a Bessie Award for Outstanding and performances around the world for more than Production in 2015; the first was Restless Eye at New 20 years. Worked with many fine artists, including York Live Arts in 2012. Current and upcoming projects Sally Silvers, Douglas Dunn, David Parker and the include a new opera with David Lang for the Isabella Bang Group, Maura Donohue, Rebecca Stenn, Ben Stewart Gardner Museum in Boston for 2018, Munisteri, Eiko & Koma, Adrienne Truscott, Hilary Sasquatch Rituals at The Kitchen in April 2018, and Easton, Enrico Wey, Jacques D’Amboise, Paige Martin, The Securely Conferred, Vouchsafed Keepsakes of Laura Pawel, Keely Garfield, Neta Pulvermacher, Maery S. Kempson is a MacDowell Colony fellow; a Arturo Vidich, Mari Lopez, Michelle Dorrance, member of New Dramatists; a USA Artists Rockefeller Dormeisha Sumbry-Edwards, Amanda Loulaki, Gina fellow; an artist-in-residence at the Abrons Arts Gibney, Aitana Cordero, Cherylyn Lavagnino, Larissa Center; a 2014 nominee for the Doris Duke Impact Velez-Jackson, Roseanne Spradlin, Jack Ferver, Jody Award, the Laurents Hatcher Award, and the Herb Oberfelder, and Kota Yamazaki. Also lights events for Alpert Award; and a New York Theatre Workshop The Food Network and was a production manager for Usual Suspect. Her plays are published by 53rd State the Hudson River Festival (now known as River to Press, PLAY: Journal of Plays, and Performance & Art River) for 8 years. Received a “Bessie” (New York Journal (PAJ). In addition to Sarah Lawrence College, Dance and Performance Award) for her body of she teaches and has taught experimental lighting design work in 2004 and for Yvonne Meier’s performance writing at Brooklyn College and the FACULTY 203

Eugene Lang College at the New School in New York Justine Kurland Visual and Studio Arts City. Kempson launched the 7 Daughters of Eve BFA, School of Visual Arts (New York). MFA, Yale Theater & Performance Co. in April 2015 at the Martin University. New York-based photographer/artist with E. Segal Center at the City University of New York. solo exhibitions at numerous galleries and museums The company’s inaugural production, Let Us Now worldwide, including: Frank Elbaz Gallery, Elizabeth Praise Susan Sontag, premiered at Abrons Arts Center Leah Gallery, Monte Faria Gallery, Mitchell-Innes & in New York City. A new piece, Public People's Enemy, Nash, Monte Clark Gallery. Works represented in was presented in October 2018 at the Ibsen Awards numerous permanent collections, including: The and Conference in Ibsen’s hometown of Skien, International Center of Photography (New York), Norway. 12 Shouts to the Ten Forgotten Heavens, a Museum of Contemporary Photography (Chicago), three-year cycle of rituals for the Whitney Museum Solomon R. Guggenheim Museum of Art (New York), of American Art in the Meatpacking District of New and Whitney Museum of American Art. Guest lecturer York City, began on the vernal equinox in March 2016 at Columbia University, Columbia College of Art, to recur on each solstice and equinox through University of California-Los Angeles, and numerous December 2018. SLC, 2016- others. Her photos have been published widely and featured most notably in Art in Review, The New York Paul Kerekes Music (Composition) Times, Vogue, The Washington Post, The New Yorker, BMus, CUNY Queens College. MM, MMA, Yale School of and Harper’s Bazaar. Her photography is featured in Music. New York-based composer and pianist whose numerous books and catalogues, including: Art music has been performed by American Composers Photography Now, Bright, Susan (Aperture Orchestra, Da Capo Chamber Players, and New Morse Foundation, 2005), Old Joy, Jonathan Raymond Code, in Merkin Hall, (le) poisson rouge, and The (Artspace Books, 2004), and Justine Kurland: Spirit Winter Garden. He attended The Bang on a Can West, John Kelsey (Coromandel, 2002). SLC, 2011– Summer Music Festival, Aspen Music Festival, and The Young Artists Piano Program at Tanglewood. Mary LaChapelle Writing Member of Grand Band, a six-piano ensemble BA, University of Minnesota. MFA, Vermont College. featured in The Bang on a Can Marathon and the Author of House of Heroes and Other Stories; stories, Gilmore International Keyboard Festival. Award essays and anthologies published by New Rivers recipient from ASCAP, the Academy of Arts and Press, Atlantic Monthly Press, Columbia Journal, Letters; recipient of the 2015 JFund award from the Global City Review, Hungry Mind Review, North American Composer’s Forum. SLC, 2017– American Review, Newsday, The New York Times; recipient of the PEN/Nelson Algren, National Library Daniel King Mathematics Association, Loft Mcknight and The Whiting BS, Lafayette College. MS, PhD, University of Virginia. Foundation awards; fellowships from the Special interests in mathematics education, game Hedgebrook, Katherine Anne Porter, Edward Albee, theory, history and philosophy of mathematics, and and Bush foundations. SLC, 1992– the outreach of mathematics to the social sciences and the humanities. Author of research papers in the Eduardo Lago Spanish, Literature areas of nonassociative algebra, fair-division theory, MA, Universidad Autonomá de Madrid, Spain. PhD, and mathematics education; governor of the Graduate Center, City University of New York. Special Metropolitan New York Section of the Mathematical interests: Spanish and Latin American literature, US Association of America; member, board of editors, Latino writers, European literature. Author of the The College Mathematics Journal. SLC, 1997– award-winning novel, Call Me Brooklyn (2006), translated into 15 languages. Other fiction orksw Aubrey Korneta French include short-story collections Scattered Tales and BA, University of Illinois at Urbana-Champaign. MST, Map Thief and I Always Knew I Would See You Again, Fordham University. MA, MPhil, PhD, New York Aurora Lee, a novel (2013)—all in Spanish. Translator University. Dissertation on the representation of into Spanish of works by John Barth, Sylvia Plath, language learning in the French school system in Henry James, Junot Díaz, Hamlin Garland, William contemporary literature and film. esearR ch interests Dean Howells, and Charles Brockden-Brown. include 20th– and 21st-century French and Recipient of the 2002 Bartolome ́ March Award for francophone literature and film, the eprr esentation Excellence in Literary Criticism for his comparative of education and youth, and contemporary French analysis of James Joyce’s Ulysses translations into society, culture, and politics. SLC, 2018– Spanish. Director of the Cervantes Institute in New York, 2006–2011. Holder of a Chair of Excellence at Carlos III University, Madrid, in 2008. His collection of 204 Faculty essays The double helix of North American Literature, abandoned stores, as well as more traditional will be published at the end of 2018 in Mexico and venues. Conducted theatre workshops for Spain. SLC, 1993– participants of all ages in New York City, Yonkers, Westchester County, and throughout the United Kevin Landdeck Adda Bozeman Chair in States and abroad. Wrote, directed, and performed in International Relations—Asian Studies, History original plays presented in schools, community BA, Valparaiso University. MA, University of Michigan- centers, and museums in Yonkers, Westchester Ann Arbor. PhD, University of California-Berkeley. County, and beyond. Recipient of grants from the Recipient of a Chiang Ching-kuo Foundation National Endowment of the Arts, The Wisconsin dissertation grant for archival research in Council of the Arts. Sarah Lawrence College Theatre Chongqing, China. Research concerns 20th-century Outreach co-director; artistic director of the Sarah China, specifically Kuomintang war mobilization and Lawrence College theatre program, 2007-2010. SLC, interior society during the Sino-Japanese War 1998– (1937-45). Dissertation, “Under the Gun: Nationalist Military Service and Society in Wartime Sichuan, Rattawut Lapcharoensap Writing 1938-1945,” presently being revised for future BA, Cornell University. MFA, University of Michigan. publication, examines the state-making projects Fiction writer. Author of Sightseeing, a collection of embedded within conscription and voluntary short stories, which received the Asian American enlistment in Chiang Kai-shek’s army. Translating Literary Award and was shortlisted for the the confessions and jottings of a captured KMT spy, Guardian First Book Award. His work has appeared in who spent 16 years undergoing self-reform in a Granta, One Story, The Guardian, Zoetrope, Best New communist prison, is a side project currently in American Voices, and Best American Non-Required progress. Key areas of interest include China’s Reading, among others. Recipient of a Whiting transition from a dynastic empire to a nation-state; Writer’s Award, a DAAD Artist-in-Berlin fellowship, a the role of war in state-making; modes of political National Book Foundation 5 Under 35 honor, an mobilization and their intersection with social Abraham Woursell Prize through the University of organization; and private life and selfhood, including Vienna, and was named by Granta magazine to its list national, regional, or local and personal identities. of “Best of Young American Novelists.” SLC, 2018– Broadly teaches on modern (17th century to present) East Asian history, with a focus on politics, society, Ann Lauinger Literature and urban culture. In addition to a course on war in BA, University of Pennsylvania. MA, PhD, Princeton 20th-century Asia, a personal involvement in University. Special interest in medieval and photography has inspired a course on photographic Renaissance poetry, particularly English. Author of images and practice in China and Japan from the papers and articles on Shakespeare and Ben Jonson; 19th century through the present. Member of the of Persuasions of Fall (The University of Utah Press, American Historical Association, Association of Asian 2004) and Against Butterflies (Little Red Tree Studies, and Historical Society for Twentieth-Century Publishing, 2013), both books of poems; and of China. SLC, 2011– poems published in Confrontation, Missouri Review, Parnassus, and other magazines. Recipient of Agha Allen Lang Director, Theatre Outreach—Theatre Shahid Ali Poetry Prize, Ernest J. Poetry Prize, BA, University of Wisconsin–Stevens Point. MFA, Thouron-University of Pennsylvania British-American SUNY-Empire State College. Published plays Exchange Program scholarship; Woodrow Wilson include Chimera, White Buffalo, and The Wading Fellow. SLC, 1973– Pool. Recipient of the Lipkin Playwright Award and Drury College Playwright Award. Plays produced in Joseph Lauinger Literature New York City at Pan Asian Rep, Red Shirt BA, University of Pennsylvania. MA, Oxford University. Entertainment, La Mama, The Nuyorician Poets Cafe, MA, PhD, Princeton University. Special interest in and other venues. In New York, directed new plays by American literature and film, the history of drama, Richard Vetere, Adam Kraar, Diane Luby, and Michael and classical literature; recipient of the New York Schwartz. Established The River Theatre Company in State Teacher of Excellence Award and a grant from Central Wisconsin with a company of local players. the National Endowment for the Humanities; fiction Directed, toured with the work of Samuel Beckett, and poetry published in Epoch, Lost Creek, Eugene Ionesco, Slawomir Mrozek, David Lindsay Georgetown Review, Confrontation, and Pig Iron; plays Abaire, and John Patrick Shanley, among others. performed throughout the United States and in the Performances presented on NPR and in shopping United Kingdom, Australia, and India; member of the malls, street festivals, bus stops, parking lots, and Dramatists Guild. SLC, 1988– FACULTY 205

Jenna Lawrence Biology Bessie Dance Awards. Teaches across the United BA, Boston University. PhD, Columbia University. States and abroad in the Philippines, Japan, Behavioral ecologist and conservation biologist. Colombia, Israel, Canada, and the United Kingdom. Research has focused on the reproductive strategies Selected as one of the Top 12 Dance Convention of brown titi monkeys (Callicebus brunneus) in Teachers in the USA by Dance Informa Magazine. Peruvian Amazonia. Also teaches for Columbia Currently teaching hip hop/street jazz at Steps on University and Barnard College. SLC, 2018- Broadway, Broadway Dance Center, Ballet Hispanico, New York Theatre Ballet, and the New York Film Billy Lester Music (Jazz Piano) Academy. SLC, 2017– BA, Lehman College. Manhattan School of Music. Taught at Diller-Quaile Music School; music Robert Lyons Creative Director—Theatre appreciation at Lehman College; private teaching, Playwright, director, and artistic director of the two- 1976-present. Solo concert: Heineken Jazz Festival, time OBIE Award-winning New Ohio Theatre in 1984. Six recordings. "Storytime" nominated by NPR Manhattan. Most recently a writer on Lush Valley, as one of the best in jazz of 2013. Performs in the which was developed at The Playwright’s Center in United States and in Europe. SLC, 2017– Minneapolis and produced at HERE Art Center in fall 2011. Other recent productions include, Nostradamus Eric Leveau French, Literature Predicts the Death of Soho, Red-Haired Thomas (“a Graduate of École Normale Supérieure, Fontenay- sweetly fractured fairy tale”—The New York Times), Saint Cloud, France. Agrégation in French Literature and Doorman’s Double Duty (“A gem!”—The New and Classics, Doctorate in French literature, Paris- York Times). Other plays include, PR Man, No Meat No Sorbonne. Special interest in early modern French Irony, The Naked Anarchist, Dream Conspiracy, literature, with emphasis on theories and poetics of Creature of the Deep, No Thanks/Thanks, Vater Knows theatre, comedy and satire, rhetoric, and the Best, and Floor Boards, which have been presented in evolution of notions of writer and style during the New York City by Soho Think Tank, HERE Arts Center, period. SLC, 2003-2006; 2008– Project III Ensemble, Clubbed Thumb, The Foundry, and Synapse Productions, among others. Linwood J. Lewis Psychology Commissioned adaptations range from The BA, Manhattanville College. MA, PhD, City University Possessed by Dostoevsky to How it Ended by Jay of New York. MS, Columbia University. Special McInerney. SLC, 2013– interests in the effects of culture and social context on conceptualization of health and illness; effects of Doug MacHugh Theatre, Filmmaking and Moving the physical environment on physical, psychological, Image Arts and social health; multicultural aspects of genetic BA, New England College. MFA, Sarah Lawrence counseling; the negotiation of HIV within families; College. Peace Corps, El Salvador. Writer of PSAs, and the development of sexuality in ethnic minority commercials, industrials, and documentaries. Script adolescents and adults. Recipient of a MacArthur writer and talent director at Gates Productions for 80 postdoctoral fellowship and an NIH-NRSA research hours of local and regional live television in Los fellowship. SLC, 1997– Angeles; one of two conceptual designers for Mitsubishi’s Waterfront Project, creating 32 Matthew Lopez Dance amusement park attractions; creative producer of BA, University of Central Florida. Studying theatre at Red Monsoon, a feature film shot in Nepal. Film Northeastern University. Dancer at Walt Disney acting credits include Clean and Sober, Alien Nation, World. Background dancer for Hillary Duff in the Come See the Paradise, and Weird Science; television Christmas Day Parade televised on ABC, Sean acting credits include Guiding Light, Law and Order, Kingston and Wyclef Jean on PBS, Demi Lovato Cheers, Quantum Leap, LA Law, and Night Court; on Good Morning America. Mascot for the New stage credits include Holy Ghost, End Game, Zoo Story, England Patriots and currently a choreographer for Fishing, and Wat Tyler; directing credits include the New England Patriots cheerleaders. Featured Platypus Rex, Mafia on Prozac, The 17th of June, North on Live with Regis and Kelly. Audition facilitator for a of Providence, Only You, To Kill A Mockingbird, and The Nicki Minaj performance and lead dancer in Times Weir. Co-director and co-producer of SLC Web Series, Square for the debut of her album, Pink Friday: “Socially Active,” Web feature film Elusive, and Roman Reloaded. Choreographed for Madison Square television pilot “Providers.” Recipient of two [Los Garden and New York Knicks pre-game show; Angeles] Drama-Logue Critics’ Awards for acting. choreographed for R&B/Pop artist, Sid Haywoode, SLC, 2000– whose song, "No Excuses," was #6 on Europe’s dance-hit chart. Serves on the committee for the 206 Faculty Greg MacPherson Theatre Nils Lofgren, Little Steven, Peter Wolf, Ian Hunter/ Designed lighting for hundreds of plays and musicals Mick Ronson, two former NY Dolls, Live at CBGB’s, the in New York and around the United States, as well as Spinners, Shannon, John Waite, and Pavarotti. in Europe, Australia, Japan, and the Caribbean. Returned to Sarah Lawrence in 2000 to work with Designs have included original plays by Edward Allan Shirley Kaplan, William McRee, and Thomas Young. Baker, Cassandra Medley, Stewart Spencer, Richard Fields of expertise: Hammond organ, rock-and-roll Greenberg, Warren Leight, Lanford Wilson, Romulus piano, synthesizer programming and sequencing, Linney, Arthur Miller, and David Mamet. Continues to piano accompaniment, popular and progressive design the Las Vegas production of Penn & Teller and music of the 1950s-1990s. SLC, 1971-77, 2000– to work as resident designer for the 52nd Street Project. Received an American Theatre Wing K. Lorrel Manning Theatre Maharam Award nomination for his lighting design BFA, University of Georgia. MFA, Columbia University, of E.S.T.’s Marathon of One-Act Plays. SLC, 1990– School of the Arts. Award-winning writer/director, actor, and musician. His first eatf ure film, Happy New Nicole Maloof Visual and Studio Arts Year—based on his critically-acclaimed play and BFA, BA, Boston University. MFA, Columbia University. award-winning short film of the same name—had Interdisciplinary practice in drawing, printmaking, its world premiere at the 2011 SXSW Film Festival and and video. Finalist for a New York Foundation for the has screened at more than a dozen film estivals.f The Arts grant in printmaking/drawing/book arts. Work film onw multiple awards in the United States and exhibited at the Boston Center for the Arts, Franklin abroad and was officiallyeleased r domestically by Street Works, International Print Center New York, Snag Films in 2013. Most recently, Manning wrote and the Jewish Museum. Recent teaching positions and directed three short films orf Guggenheim include courses in drawing and printmaking at Studios: The Great Love Rosemary, Pure, and My Williams College. SLC, 2018– Father’s Heart. All three films had their orldw premiere at the Rhode Island International Film Merceditas Mañago-Alexander Dance Festival (RIIFF) in August 2016. As a theatre director BA, SUNY–Empire State College. Dancer with Doug and playwright, Manning has worked extensively Off- Varone and Dancers, Pepatian, Elisa Monte Dance Broadway and Off-Off-Broadway. Recent productions Company, Ballet Hispanico, and independent include a new, critically-acclaimed adaptation of choreographers such as Sara Rudner and Joyce S. Henrik Ibsen’s An Enemy of the People (co-written Lim. Recipient of the Outstanding Student Artist with Seth Barrish), The Unrepeatable Moment, and a Award from the University of the Philippines revival of John Patrick Shanley’s Danny and the Deep Presidents’ Committee on Culture and the Arts. Blue Sea. Manning’s theatrical project AWAKE (a Taught at Alvin Ailey School; guest faculty member, collection of short plays and monologues about race, 92nd Street Y, Marymount Manhattan College, class, gender, and sexuality), which he will also Metropolitan Opera Ballet, New York University Tisch direct, will receive its world premiere in January School of the Arts, Rutgers University Mason Gross 2019. SLC, 2018- School of the Performing Arts. Participant/teacher, 2004 Bates Festival-Young Dancers Workshop; solo Rona Naomi Mark Filmmaking and Moving Image works: Free Range Arts, Dixon Place, Brooklyn Arts Arts Exchange, and Danspace Project/St. Mark’s Church. BA, Hebrew University of Jerusalem. MFA, Columbia SLC, 2002– University. Award-winning writer, director, and producer. Festivals and awards include: Best of Fest, Thomas Mandel Theatre Edinburgh International Film Festival; Audience BA, Bowdoin College. Songwriting with Paul Simon, Choice Award, Filmmaker Magazine; Scenario Award, New York University, 1969; taught Singing Workshop Canadian International Film and Video Festival; Best with John Braswell at Sarah Lawrence (1971-77); Short (second place), Galway Film Fleadh; Best scored musicals at Sarah Lawrence, Astor Place Comedy/Best of Night, Polo Ralph Lauren New Works Theatre, and Cafe LaMaMa, New York City; composed, Festival; BBC’s Best Short Film About the orchestrated, and musical-directed three rock Environment, Tel Aviv International Student Film operas Off-Off Broadway and at Sarah Lawrence. Festival; opening-night selection, Three Rivers Film (The first, Joe’s Opera, was twice optioned for Festival; Hong Kong International Jewish Film Broadway production; animated the second, The Sea Festival; Irish Reels Film Festival; Seattle True of Simile, on a full-length DVD.) Toured and recorded Independent Film Festival; New Filmmakers (1977-1998) from Vietnam to Vienna, New York City to Screening Series; Hoboken International Film Sun City, with Dire Straits, Bryan Adams, Cyndi Festival; Miami Jewish Film Festival; Munich Lauper, Tina Turner, Bon Jovi, B-52s, the Pretenders, FACULTY 207

International Student Film Festival; Palm Beach William D. McRee Theatre International Jewish Film Festival; Pittsburgh Israeli BA, Jacksonville University. MFA, Sarah Lawrence Jewish Film Festival; Toronto Jewish Film Festival; College. Co-founder and artistic director for Vancouver Jewish Film Festival; finalist, Pipedream Jacksonville’s A Company of Players, Inc.; Screenplay Competition; third prize, Acclaim TV productions with The Actor’s Outlet, Playwrights Writer Competition; second place, TalentScout TV Horizons, Summerfest, and the Ensemble Studio Writing Competition; finalist, People’s Pilot Television Theatre. SLC, 1981– Writing Contest; Milos Forman Award; finalist, Academy of Motion Picture Arts and Sciences Cassandra Medley Theatre Student Film Awards. Current feature film projects Producer of plays, including American Slavery Project include: screenwriter/director/producer, Strange (2012-13). Cell (2013), Ensemble Studio Theatre Girls, Mdux Pictures, LLC; screenwriter/director, Marathon (2011), is pending publication in the Shoelaces. SLC, 2007– anthology Outstanding One-Act Plays—2012, Dramatists Play Service; Daughter, Ensemble Studio James Marshall Computer Science Theatre Marathon (2009), published by Broadway BA, Cornell University. MS, PhD, Indiana University- Play Publishing (2012). Noon Day Sun (August, 2008), Bloomington. Special interests in robotics, Diverse City Theatre Company, Theatre Row, New evolutionary computation, artificial intelligence, and York City, was nominated for the August Wilson cognitive science. Author of research papers on Playwriting Award (2008); Noon Day Sun was also developmental robotics, neural networks, and published by Broadway Play Publishing. Relativity, a computational models of analogy; author of the commission from the Alfred P. Sloan Foundation, Metacat computer model of analogy. SLC, 2006– Ensemble Studio Theatre (2004), was produced by Kuntu Repertory of Pittsburgh, Southern Repertory of Juliana F. May Dance New Orleans (2007), the Ensemble Studio Theatre BA, Oberlin College. MFA, University of Wisconsin- (May 2006), St. Louis Black Repertory Theatre Milwaukee. A Guggenheim and NYFA Fellow, for the (February 2006), and the Magic Theatre in San past 15 years she has taught dance and Francisco (June 2004); Relativity, published by choreography at numerous institutions in am N-12 Broadway Play Publishing, also won the Audelco and university setting, including at Trevor Day August Wilson Playwriting Award (2006) and was School, Barnard College, The New School, and, most featured on Science Friday on National Public Radio recently, at The American Dance Festival in Durham, and in an online broadcast of the Los Anegeles North Carolina. She has created nine works since Repertory Theatre (February 2008). Marathon 2002, including seven evening-length pieces with (2004-06) was also published by Broadway Play commissions and encore performances from Dance Publishing. Recipient of the “Going to the River Theatre Workshop, New York Live Arts, The Chocolate Writers” Life Achievement Award (2004), Ensemble Factory Theatre, Barnard College, The New School, Studio Theatre 25th Anniversary Award for Theatre Joyce SoHo, and The American Realness Festival. She Excellence (2002), the Theatrefest Regional has been awarded grants and residencies through Playwriting Award for Best Play (2001), the New The Map Fund, The Jerome foundation, Lower Professional Theatre Award (1995), and the Marilyn Manhattan Cultural Council, and Gibney DIP. SLC, Simpson Award (1995); a finalist orf the Susan Smith 2017– Blackburn Award in Playwriting (1989) and winner of the National Endowment for the Arts Playwright Jeffrey McDaniel Writing (on leave spring semester) Award (1990). Recipient of a New York Foundation BA, Sarah Lawrence College. MFA, George Mason for the Arts grant (1986) and a New York State University. Author of five books of poetry, most Council on the Arts grant (1987). Taught at New York recently Chapel of Inadvertent Joy (University of University and served as guest artist at Columbia Pittsburgh Press, 2013). Other books include The University, the University of Iowa Playwrights Endarkenment (Pittsburgh, 2008), The Splinter Workshop, and Seattle University. Staff writer for ABC Factory (Manic D Press, 2002), The Forgiveness Television, One Life to Live (1995-97), and a Parade (Manic D Press, 1998), and Alibi School (Manic playwright member of the Ensemble Studio Theatre D Press, 1995). His poems have appeared in and New River Dramatists. SLC, 1989– numerous journals and anthologies, including Best American Poetry in 1994 and 2010. Recipient of an Jodi Melnick Dance NEA Fellowship. SLC, 2011– BFA, State University of New York–Purchase. Choreographer, performer, and teacher. A 2012 Kevin McKenna Vice President for Enrollment & Dean Guggenheim fellow and recipient of the Jerome of Admission and Financial Aid—Music 208 Faculty Robbins New Essential Works grant (2010-2011), a Greta Minsky Theatre Foundation for Contemporary Arts award, 2011 BA, University of Kansas. MA, Sarah Lawrence Grants to Artists award, and two Bessies (2001 and College. Stage manager of original productions of 2008). Her dances have been performed at The Joyce works by Tom Stoppard, Neil Simon, Laurence Theatre and City Center in New York City; her works Fishburne, Doug Wright, Charles Busch, Larry L. King, have been commissioned and presented by The Ernest Abuba, and Lillian Garrett-Groag, among Kitchen (Fanfare, with set décor by Burt Barr), Dance others. Broadway, Off Broadway, touring, dance, Theater Workshop, La Mama for OtherShore Dance opera, and concert work includes productions with Company, Jacob’s Pillow, The American Dance Manhattan Theatre Club, Circle Rep, WPA, Pan Asian Festival, Barnard College, Bennington College, Dance Rep, Vineyard Theatre, La MaMa E.T.C., The Women’s Box, Kansai, Japan, and opening the Dublin Dance Project, Radio City Music Hall, Carnegie Hall, and New Festival (2011) at the Irish Museum of Modern Art. York City Opera. Co-founder of Modern Times Theater. She has worked with a vast array of dance artists SLC, 1998– such as Twyla Tharp and Mikhail Baryshnikov and continues to perform with choreographers Sara Nike Mizelle German Rudner, Vicky Shick, Jon Kinzel, John Jasperse, Liz BA, Queens College. MA, MPhil, Graduate Center of the Roche, and Susan Rethorst. Currently, she also City University of New York. Special interests in New teaches at Barnard College at Columbia University, German Cinema, German Romanticism, New York University (in the Experimental Theater contemporary German authors, and 20th-century art Wing), and Trevor Day School. SLC, 2013– history. Translator of articles on German music; contributor to Pro Helvetia Swiss Lectureship. Roberta Michel Music (Flute) Monika Maron Symposium chairperson, Ghent BA, University of Colorado at Boulder. MM, University, Belgium. SLC, 1987– SUNY–Purchase. DMA, City University of New York Graduate Center. Recipient of the Artists Bill Moring Music (Bass, Jazz Ensembles) International Special Presentation Award, debuted at Indiana State University. Taught at Montclair State Carnegie Hall’s Weill Recital Hall. Winner, National University, NJPAC Jazz for Teens, Long Island Flute Association’s Graduate Research Competition, University. Lectures and concerts with Staten Island Purchase College Baroque Concerto Competition. Chamber Music Players Jazz Quartet. Adjudicator at Bang on a Can Summer Institute fellow. Participant numerous high schools and universities across the in the Institute and Festival of Contemporary United States and Europe; private teacher and Performance at Mannes College, Banff estival,F and ensemble coach. Recipient: National Endowment for Domaine Forget. SLC, 2017– the Arts Study Grant, Rufus Reid. Performances, notable festivals, and concerts: Tchaikovsky Hall, Sarah Michelson Dance Moscow; Monterey Jazz Festival, California; JVC Jazz Festival, New York; Carnegie Hall, Nee York; Wigan Nicolaus Mills Literature Jazz Festival, England; Estoril Jazz Festival, Portugal. BA, Harvard University. PhD, Brown University. Special SLC, 2017– interest in American studies. Author of Winning the Peace: The Marshall Plan and America’s Coming of Mary Morris Writing Age as a Superpower, The Triumph of Meanness: BA, Tufts College. MPhil, Columbia University. America’s War Against Its Better Self, Their Last Novelist, short-story writer, and writer of travel Battle: The Fight for the National World War II literature. Author of the novels The Jazz Memorial, Like a Holy Crusade: Mississippi 1964, The Palace, Crossroads, The Waiting Room, The Night Sky, Crowd in American Literature, and American and House Arrest, Acts of God, and Revenge; the short- English Fiction in the Nineteenth Century. Editor of story collections Vanishing Animals and Other Getting Out: Historical Perspectives on Leaving Iraq, Stories, The Bus of Dreams, and The Lifeguard Stories; Debating Affirmative Action, Arguing Immigration, the travel memoirs Nothing to Declare: Memoirs of a Culture in an Age of Money, Busing USA, The New Woman Traveling Alone and Wall to Wall: From Beijing Journalism, and The New Killing Fields. Contributor to to Berlin by Rail; an anthology of the travel literature The Boston Globe, The New York Times, Chicago of women, Maiden Voyages and Angels and Aliens: A Tribune, San Francisco Chronicle, Newsday, The Journey West; recent work published in Atlantic Nation, Yale Review, National Law Journal, and The Monthly, Narrative, and Ploughshares. Recipient of Guardian; editorial board member, Dissent magazine. the Rome Prize in Literature and grants from the Recipient of fellowships from the Woodrow Wilson Guggenheim Foundation, National Endowment for Foundation, American Council of Learned Societies, the Arts, and Creative Artists Public Service Awards. and the Rockefeller Foundation. SLC, 1972– SLC, 1994– FACULTY 209

Bari Mort Music with The Kitchen, serving as the curator of dance BFA, State University of New York–Purchase. MM, The and performance from 1999-2004 and then as a Juilliard School. Pianist, winner of Artists curatorial advisor through 2009. In 2012, Moss International Young Musicians Auditions; New York curated Black Dance as part of the Parallels 2012 at recital debut at Weill Recital Hall at Carnegie Hall. the Danspace Project. His practice employs Member of New York Chamber Ensemble; performed collaboration and audience participation as a means with International String Quartet, Musica de Camera, to disrupt and enrich both his life and his practice. Da Capo Chamber Players, Colorado String Quartet, Past premieres include: Nameless forest (2011), a American Symphony Orchestra, Columbia Artists’ collaboration with Korean sculptor and installation Community Concerts. Broadcasts include PBS’s Live artist Sungmyung Chun—referencing Chun’s From Lincoln Center and NPR in New York and San imagery, the performance investigated existential Francisco. Recorded for ERM Records and Albany narratives while engaging the audience in Records. Faculty member, Bard College, 1997-2006. experiential rites of passage; Kisaeng becomes you SLC, 2008– (2009), with Korean traditional and modern dance choreographer Yoon Jin Kim, where audience Brian Morton Director, Program in Writing—Writing members were invited to embody the discipline and BA, Sarah Lawrence College. Author of five novels, poetry of kisaeng—artist/courtesans of Korea’s including Starting Out in the Evening and Florence Joseon Dynasty; and figures on a field (2005) with Gordon. SLC, 1998– the visual artist Laylah Ali, incorporating a docent- led tour of the work during the performance. Moss’ April Reynolds Mosolino Michele Tolela Myers Chair most recent premiere was johnbrown (2014). The in Writing—Writing work used its presentation and preperformance BA, Sarah Lawrence College. Taught at the 92nd production to reflect not only on the ontrc oversial Street Y and New York University. Her short story, legacy of the white abolitionist but also on the Alcestis, appeared in The Bluelight Corner: Black racial, gender, and generational processes at play in Women Writing on Passion, Sex, and Romantic Love; the inquiry. His current performance project, based her fiction orkw has appeared in the anthology on the Rainer Fassbinder film The Bitter Tears of Mending the World With Basic Books, 110 Stories: New Petra von Kant, is titled Petra: a meditation on desire, York Writes After September 11 (New York University individual and institutional. Petra examines race, sex, Press) and in The Heretics Bible (Free Press). Her and power through the lens of service and first novel, Knee-Deep in Wonder, won the Zora Neale unrequited love. The work is commissioned by Hurston/Richard Wright Foundation Award. Her Performance Space 122 and will premiere at its second novel, The Book of Charlemagne, is newly renovated theatre in January 2018. SLC, 2017– forthcoming (Free Press/Simon & Schuster). SLC, 2003– Jamee K. Moudud Economics BS, MEng, Cornell University. MA, PhD (Honors), The Dean Moss Dance New School for Social Research. Current interests A dance-based, interdisciplinary director, media include the study of industrial competition, the artist, curator, and lecturer, Moss political economy of the developmental welfare investigates—through his company, Gametophyte state, the determinants of business taxes, and the Inc.—the process of assimilation, fluidity of self, and study of Schumpeter’s analysis of the tax state. SLC, perceptions of other through transcultural, 2000– multimedia performance collaborations often incorporating audience participation. He is the Patrick Muchmore Music recipient of a 2014 John Simon Guggenheim Memorial BM, University of Oklahoma. Composer/performer Foundation Fellowship in Choreography, the with performances throughout the United States; inaugural Doris Duke Impact Award in Theatre, a founding member of New York’s Anti-Social Music; Foundation for Contemporary Arts Artists Grant theory and composition instructor at City College of Award, multiple MAP Fund and NEFA National Dance New York. SLC, 2004– Project grants, plus fellowships in both choreography and multidisciplinary works from The Joshua Muldavin Geography New York Foundation for the Arts. He received a New BS, MA, PhD, University of California-Berkeley. Special York Dance and Performance Bessie Award for his interests in China, Japan, and Asia policy, rural work Spooky action at a distance. Moss came to New development, international aid, agriculture and food, York from Tacoma, Washington, on a Dance Theatre climate change, environment, political economy, and of Harlem scholarship in 1979. He danced with David political ecology. Current research projects analyze Gordon for 10 years and has had a long relationship international environmental policy and impacts on 210 Faculty local resource use and vulnerability in the Himalayan Chieko Naka Japanese region; climate change policy; socialist transition’s BA, Ochanomizu University, Japan. MA, University of environmental and social impacts in China; Windsor, Canada. Special interest in intercultural sustainable agriculture and food systems; global communications. Taught Japanese as a second resource and development conflicts via apitc al flows language at secondary schools and universities in to Africa, Latin America, and South/Southeast Asia; Canada, The Philippines, Republic of Korea, and the and aid to China since 1978. Twenty-eight years of United States. Trained Filipino teachers in the Japan field esearr ch, primarily in rural China. Recipient of Foundation program in Manila. Wrote featured grants from National Science Foundation, Social articles in the daily Japanese newspaper, Kitanihon Science Research Council, Ford Foundation, Shinbun. SLC, 2010– MacArthur Foundation, and Fulbright. Invited lecturer at Princeton, Yale, Oxford, Johns Hopkins, US Ellen Neskar Merle Rosenblatt Goldman Chair in Congressional Commission, European Parliament. Asian Studies—Asian Studies Executive director of the Action 2030 Institute. BSc, University of Toronto. MA, MPhil, PhD, Columbia Contributor to The Political Geography Handbook, University. Special interest in the social and cultural Economic Geography, Geopolitics, Environment and history of medieval China, with emphasis on the Planning A, Geoforum, and Annals of the Association intersection of politics and religion; author of of American Geographers, International Herald Politics and Prayer: Shrines to Local Worthies in Sung Tribune, BBC World News, and other media outlets. China; member, Association of Asian Studies; SLC, 2002– recipient of an American Council of Learned Societies grant. SLC, 2001– Parthiban Muniandy Sociology BA, PhD, University of Illinois. Research focuses on David Neumann Theatre (on leave fall semester) temporary labor migration in Southeast Asia and As artistic director of the advanced beginner group, South Asia; particular interest in exploring how new work presented in New York City at P.S. 122, Dance regimes of migration are emerging, under which Theatre Workshop, Central Park SummerStage “temporary labor” migrants are becoming (collaboration with John Giorno), Celebrate Brooklyn, increasingly commonplace in fast-developing and Symphony Space (collaboration with Laurie societies in Asia, and how informality and informal Anderson). Featured dancer in the works of Susan practices become important elements that affect Marshall, Jane Comfort, Sally Silvers, Annie-B Parson the lives of migrant women and men. Author of & Paul Lazar’s Big Dance Theatre, and club legend Politics of the Temporary: Ethnography of Migrant life Willi Ninja; previously a member of Doug Varone and in Urban Malaysia (2015) and peer-reviewed articles Dancers and an original member and collaborator for in International Sociology, Journal of Ethnic and eight years with the Doug Elkins Dance Company. Migration Studies and Asian Journal of Social Science. Over the past 20 years, choreographed or performed Former appointments: Lecturer of Global Studies, with directors Hal Hartley, Laurie Anderson, Robert University of Illinois at Urbana-Champaign. SLC, Woodruff, Lee Breuer, Peter Sellars, JoAnn Akalaitis, 2017– Mark Wing-Davey, and Les Waters; recently appeared in Orestes at Classic Stage Company, choreographed Priscilla Murolo History The Bacchae at the Public Theatre, and performed in BA, Sarah Lawrence College. MA, PhD, Yale University. a duet choreographed with Mikhail Baryshnikov. SLC, Special interest in US labor, women’s, and social 2007– history; author, The Common Ground of Womanhood: Class, Gender, and Working Girls’ Clubs; co-author, John Casey Nicolarsen Economics From the Folks Who Brought You the Weekend: A BA, Creighton University. MA, PhD, University of Short, Illustrated History of Labor in the United Missouri-Kansas City. General interests include: States; contributor to various encyclopedias and economic theory; history of economic thought; anthologies and to educational projects sponsored political ecology; the nature, origins, and functioning by labor and community organizations; reviewer for of money and monetary production economies; law Journal of American History, Journal of Urban History, and economics; economic modeling; economic International Labor and Working Class History, and philosophy; methodological issues and the process other historical journals; contributor and editorial of generating economic theories; and, heterodox associate, Radical History Review; recipient of economics (e.g., “original”/“radical” institutional, Hewlett-Mellon grants. SLC, 1988– Marxian, post-Keynesian, feminist, and ecological economics). Recent interests and research gravitates toward issues of wage policy (income and wealth distribution); public finance, including flows FACULTY 211 and services between federal and state through artist-in-residence programs at Brooklyn governments; fiscal and monetary policy; legal Arts Exchange in 2010-2011, Chez Bushwick in 2013, frameworks, their evolution, and the interrelations Movement Research in 2013-2015, and The Camargo of law and economics; price systems and pricing Foundation (France) in 2017 while teaching at strategies; the conceptualization and interaction Bennington College, Ferris University (Japan), between economies and ecological dimensions; the Movement Research, and Brooklyn Studio for Dance. intersection and theoretical foundations among Her latest full-evening work, Bladder Inn (and X, Y, Z, money, value theory, and accounting systems; and W), commissioned by Danspace Project, was alternative provisioning arrangements and the premiered in February 2018 at St. Mark’s Church. production of novel qualitative measurement SLC, 2019– indicators. Determined to help reorient and reinvigorate the social science of economics as a Jennifer Nugent Dance truly interdisciplinary and theoretically pluralist Danced with the Bill T. Jones/Arnie Zane Dance endeavor for achieving better social outcomes. Company from 2009-2014 and David Dorfman Dance Author of “Value, Money, and Accounting for Pax from 1999-2007, receiving a New York Dance and Ecologica: Contouring a Price-Coordination System Performance Award (Bessie) for her work in the for Ecological-Economic Provisioning” (Dissertation. company. She has also had opportunities to perform April, 2017). Research scholar at the Binzagr Institute and work intensively with Martha Clarke, Lisa Race, for Sustainable Prosperity. SLC, 2017- Doug Elkins, Bill Young, Colleen Thomas, Kate Weare, Barbara Sloan, and Dale Andre. Her teaching and Philipp Nielsen History (on leave yearlong) dancing is inspired by all of her teachers and BSc, London School of Economics and Political mentors, most profoundly by her time working, Science. PhD, Yale University. Specializes in the performing with, and learning from Daniel Lepkoff, intellectual, cultural, and political history of modern Wendall Beavers, Gerri Houlihan, David Dorfman, Bill Europe, with particular emphasis on German and T. Jones, Janet Wong, Wendy Woodson, and Patty Jewish history. Research addresses the history of Townsend. Her choreography and duet collaborations democracy and its relation to emotions, with Paul Matteson have been presented in New York constitutional law, and architecture. His book City and throughout the United States. Nugent manuscript, “From Promised Land to Broken Promise: teaches regularly in New York City and abroad and Jews, the Right, and the State in Germany between has been a guest artist at numerous universities and 1871 and 1935,” traces the involvement of German dance festivals, including The American Dance Jews in nonliberal political projects from the Festival and the Bates Dance Festival. She has been a founding of the German Empire to the Nuremberg teaching artist at Smith College and Amherst College Laws. Most recently, he published articles on the since 2014. In 2015, she choreographed a work titled notions of responsibility and compromise in Stir on FCDD students. Stir was performed at the conservative interwar politics in Germany and on Smith College Faculty Concert in 2015 and the Five debates about adequately "democratic architecture" College Dance Concert at Mount Holyoke in 2016. In in the 1950s and 1960s in West Germany. SLC, 2016– 2016-2017, she staged Five College dancers on an excerpt from Bill T. Jones/Arnie Zane Company's Mina Nishimura Dance Story/Time. SLC, 2017– BA, Ochanomizu University (Japan). Nishimura was introduced to butoh and improvisational dance Dennis Nurkse Writing (on leave fall semester) through Kota Yamazaki, while she was studying at BA, Harvard. Author of 10 books of poetry (under “D. the Merce Cunningham Studio. In New York, she has Nurkse”), including Love in the Last Days performed with influential choreographers such as (forthcoming from Knopf in fall 2017), The Border Kota Yamazaki, Neil Greenberg, David Gordon, DD Kingdom, Burnt Island, The Fall, The Rules of Paradise, Dorvillier, Yoshiko Chuma, RoseAnne Spradlin, Daria Leaving Xaia, Voices over Water, and, most recently, A Fain, Trajal Harrel, Mårten Spångberg, Cori Night in Brooklyn; poems have appeared in The New Olinghouse, and Moriah Evans—and, most recently, Yorker, Atlantic Monthly, and six editions of the Best with John Jasperse, Dean Moss, Rashaun American Poetry anthology series. Recipient of a Mitchell+Silas Riener, Vicky Shick, Nami Yamamoto, literature award from the American Academy of Arts Ursula Eagly, and Ellen Fisher. In recent years, she and Letters, a Guggenheim fellowship, a Whiting has also performed with SIA on Saturday Night Live; Writers’ award, two National Endowment for the Arts in PRADA/Miu Miu Women’s Tales, directed by Celia fellowships, two New York Foundation for the Arts Rowlson-Hall; and in a music video of Late Sea. She fellowships, and two awards from The Poetry also has been making her own choreographic work 212 Faculty Foundation; a finalist orf the Forward Prize for best long-term and end-of-life care. She is a Certified poetry book published in the United Kingdom. SLC, Brain Injury Specialist (CBIS) and has served on 2004– advisory boards of the New York State Office for the Aging Family Caregiver Council, New York State John O’Connor Visual and Studio Arts Caregiving and Respite Coalition, Caregiving Youth BA, Westfield (Mass.) State College. MFA, MS, Pratt Research Collaborative, and American Association of Institute. Attended Skowhegan School of Painting Caregiving Youth. As a health geographer, her and Sculpture. Recipient of a New York Foundation research focuses on the experiences of informal for the Arts grant in painting and the Pollock-Krasner family caregivers, specifically related to caregiver Foundation grant. Taught at Princeton University, interactions with the formal health care system. Pratt Institute, and New York University. Recent Special interests include brain injury and qualitative exhibitions at Pierogi Gallery in Brooklyn, Martin methods. She teaches environmental psychology at Asbaek Projects in Copenhagen, Fleisher Ollman SLC and food studies and public health at The New Gallery in Philadelphia, and The Lab in Dublin School in New York City. SLC, 2015– (Ireland). His work is included in the collections of the Museum of Modern Art, Whitney Museum of Marygrace O’Shea Filmmaking and Moving Image American Art, Southern Methodist University, and Arts New Museum of Contemporary Art. SLC 2010– BA, Haverford College. MFA, Columbia University Graduate School of Film. Film and television writer Stephen O’Connor Writing with credits that include NBC Universal/Wolf Films: BA, Columbia University. MA, University of Law & Order: Special Victims Unit and Law & Order: California–Berkeley. Author of Thomas Jefferson Criminal Intent; HBO: In Treatment, Season 2; Dreams of Sally Hemings, Here Comes Another Fox Television: Golden Parachutes/Thieves Like Us Lesson, short fiction; Rescue, short fiction and (creator, writer, and executive producer for the poetry; Will My Name Be Shouted Out?, memoir and original TV series pilot) and Carnegie Heights social analysis; Orphan Trains: The Story of Charles (creator, writer, and executive producer for the Loring Brace and the Children He Saved and Failed, program in development). Member, Writers Guild history/biography. Fiction and poetry have appeared of America East. Recent awards: 2013 winner, in The New Yorker, Conjunctions, One Story, Electric Writer’s Guild of America East Screenplay Literature, Threepenny Review, The Missouri Review, Reading Series; winner, New York Women In Film The Quarterly, Partisan Review, The Massachusetts Screenplay Readings; winner, American Accolades Review, and elsewhere. Essays and journalism have Screenwriting Competition. Honors: Hudson Valley been published in The New York Times, DoubleTake, Short Film Festival, Manhattan Short Film Festival, The Nation, AGNI, Chicago Tribune, Boston Globe, and Austin Film Festival. SLC, 2013– New Labor Forum, among others. Recipient of the Cornell Woolrich Fellowship in Creative Writing from Sayuri I. Oyama Japanese, Literature Columbia University, the Visiting Fellowship for BA, Yale University. MA, PhD, University of Historical Research by Artists and Writers from the California–Berkeley. Special interests include American Antiquarian Society, and the DeWitt modern Japanese literature and film, ethnic and Wallace/Reader’s Digest Fellowship from the other minorities in Japan, literature as translation, MacDowell Colony. SLC, 1997, 2002– and translating literature. Recipient of a Japan Foundation fellowship; University of Philip Ording Mathematics California–Berkeley, Townsend Center for the BA, PhD, Columbia University. Research interests in Humanities Fellowship; Japan Society for the geometry, topology, and the intersection of Promotion of Science Postdoctoral Fellowship. mathematics with the arts. Mathematical consultant SLC, 2002– to New York-based artists since 2003. Currently writing a compendium of mathematical style to be Yekaterina Oziashvili Politics published by Princeton University Press. SLC, 2014– BA, Barnard College. PhD, Graduate Center, City University of New York. Research and teaching Magdalena Ornstein-Sloan Psychology interests include ethnic conflict, ethnofederalism, MA, Columbia University, Teachers College. MPH, political parties and electoral systems in Hunter College. PhD, CUNY, The Graduate Center. multinational states, constitutional and electoral During 15 years of work in the nonprofit sector and engineering, American constitutional law, and, more 20 years as a personal health care advocate, Dr. broadly, American political development. Recent Ornstein’s experience encompasses individual and awards include Fulbright/IIE Dissertation Fieldwork public-policy advocacy related to the delivery of Fellowship and the Social Science Research Council’s FACULTY 213

International Dissertation Research Fellowship. the Shadow of the Political Correctness. Recipient of Conducted field esearr ch in Russia. Taught courses in several grants, including the National Science comparative and American politics at City University Foundation and the American Psychological of New York’s Hunter College and Baruch College. Association. Published several articles in SLC, 2012– professional journals and currently an associate editor of the Journal of Community and Applied Social David Peritz Politics Psychology. SLC, 1998– BA, Occidental College. DPhil, Oxford University. Special interests in democracy in conditions of Angela Pierce Theatre cultural diversity, social complexity and political Graduate, The Julliard School, Drama Division. Works dispersal, critical social theory, social contract extensively in both Broadway and Off-Broadway theory, radical democratic thought, and the idea of productions, which have included productions such dispersed but integrated public spheres that create as the Tony and Obie award-winning Lincoln Center the social and institutional space for broad-based, Theater production of Oslo by J. T. Rogers, directed by direct participation in democratic deliberation and Bartlett Sher; The Public Theatre’s production of King decision-making. Recipient of a Marshall Lear, directed by James Lapine with musical score by scholarship. Taught at Harvard University, Deep Stephen Sondheim and starring Kevin Kline; the Tony, Springs College, and Dartmouth College; visiting Drama Desk and Theatre World Special award- scholar at Erasmus University in Rotterdam and the winning Norman Conquests by Alan Ayckbourn, London School of Economics. SLC, 2000– directed by Matthew Warchus at Circle in the Square Theatre. Pierce also works extensively in film and Jenny Perlin Visual and Studio Arts television, working with award-winning filmmakers BA, Brown University. MFA, School of the Art Institute such as Barry Levinson, Kevin Connor, Andrew Young, of Chicago. Postgraduate studies at the Whitney Paul Dalio, and Kieran Valla. Her TV work includes, Independent Study Program, New York. A Brooklyn- Blue Bloods, Law & Order: SVU, Forever, 30 Rock, based artist, her practice in 16mm film, video and Private Practice, and Criminal Minds. She has also drawing works with and against the documentary worked regionally in the United States and England tradition, incorporating innovative stylistic at theatres such as The Guthrie, Denver Theatre techniques to emphasize issues of truth, Center, Cleveland Playhouse, Old Globe, and Royal misunderstanding, and personal history. Her projects Shakespeare Company. Pierce is a former company look closely at ways in which social machinations member and board member of The Acting Company, are reflected in the smallest fragments of daily life. an Obie and Film Festival award winner, and member Her films often combines handwritten text and of AEA & SAG-AFTRA. SLC, 2018- drawn images, embracing the technical quirks of analog technologies. Her works have been shown in Kevin Pilkington Writing Coordinator—Writing numerous exhibitions, including: Whitney Museum of BA, St. John’s University. MA, Georgetown University. American Art, Guggenheim Museum, MoMA, Drawing Author of nine books of poetry, including: Spare Center, The Kitchen, and IFC Center, all in New York; Change (1997), which was the La Jolla Poets Press Mass MoCA, Massachusetts; Guangzhou Triennial, National Book Award winner; Ready to Eat the Sky Canton, China; New York Film Festival; Berlin and (2004); In the Eyes of a Dog (2009), which won the Rotterdam film estivals;f and Scottsdale Museum of New York Book Festival Award; and The Unemployed Contemporary Art in Arizona, among others. She is Man Who Became a Tree (2011), which was a Milt represented by Simon Preston Gallery New York and Kessler Poetry Book Award finalist. Poems have Galerie M+R Fricke in Berlin. She teaches at The appeared in numerous magazines, including: The Cooper Union and The New School in New York. SLC, Harvard Review, Poetry, Ploughshares, Boston Review, 1999; 2017- Columbia, North American Review. His debut novel, Summer Shares, was published in 2012; his collection Gina Philogene Psychology Where You Want to Be: New and Selected Poems, in PhD, École des Hautes Études en Sciences Sociales, 2015. SLC, 1991– Paris. Interests in social and cultural psychology, history of psychology, race, and social identity, as Mary A. Porter Anthropology (on leave fall semester) well as social representations. Author of From Black BA, Manchester University. MA, PhD, University of to African American: A New Representation, The Washington. Ethnographic studies in East Africa, the Representations of the Social: Bridging Theoretical United Kingdom, and the United States. Areas of Traditions (with Kay Deaux), Racial Identity in expertise include kinship theory, postcolonial Context: The Legacy of Kenneth B. Clark, and the studies, feminist anthropology, queer anthropology, forthcoming How the Right Made It Wrong: Names in educational studies, and oral history. Current work 214 Faculty examines discourses of race, class, and kinship of the State of New Jersey passed a joint resolution embedded in foster care and adoption, both recognizing her for her commitment, dedication, and domestically and transnationally. Co-author of Winds achievement in the art; and the Mid-Atlantic Arts of Change: Women in Northwest Commercial Fishing Foundation awarded her the prestigious Artist and author of articles on gender, kinship, education, Fellowship Award for Choreography in recognition of and sexuality. Grants include Fulbright-Hays Doctoral her creative talent. The Governor of New Jersey Research fellowship and Spencer fellowship. appointed Ramnarayan to the board of trustees for Consultant, UNESCO. Associate Dean of the College, the Asian American Study Foundation, and the expert 2007-12. SLC, 1992– committee of the Indian Council of Cultural Relations selected her for empanelment in the Council’s Liz Prince Theatre Reference Panel of Artists to perform abroad. BA, Bard College. Designer of costumes for theatre, Ramnarayan has served as a faculty member at the dance, and film. ecR ent work includes Bill T. Jones’ Mason Gross School of Arts at Rutgers University, Analogy Trilogy for the Bill T. Jones/Arnie Zane Co., as teaching Bharatanatyam for many semesters. She is well as We Shall Not Be Moved, the opera that Jones a roaster artist of Pentacle NY and Young Audiences recently directed for Opera Philadelphia, with music NJ and PA. Many of the productions that she has by Danial Bernard Roumaine and librettist Marc presented have been supported by reputed arts Bathmuti Joseph. Prince has designed numerous organizations such as the New Jersey State Council works for Bill T. Jones since 1990. Other recent work on the Arts; the Plainsboro Arts Partnership; the includes Doug Varone’s In The Shelter of the Fold for Middlesex County Culture and Heritage Commission; BAM’s Next Wave Festival, as well as his Half Life, Wheaton, Monroe, Piscataway, and Essex arts commissioned by Paul Taylor Company’s 2018 Lincoln councils; as well universities and museums such as Center season. She has designed numerous works for Rutgers University, Drew University, Wesleyan Varone since 1997. Other premieres this year include College, Stockton College of New Jersey, Cumberland works by Bebe Miller, Liz Gerring, and Pilobolus in County College, Middlesex County College, Lehigh collaboration with Bela Fleck and Abigail Wasburn. University, Muhlenberg College, Newark Museum, Prince’s costumes have been exhibited at The New Philadelphia Museum, Allentown Museum of art, York Public Library for the Performing Arts; Cleveland NJPAC, etc. SLC, 2018- Center for Contemporary Art; the 2011 Prague Quadrennial of Performance, Design and Space; Snug Nick Rauh Mathematics Harbor Cultural Center; and Rockland Center for the BS, Harvey Mudd College. PhD, University of Texas. Arts. She received a 1990 New York Dance and Areas of expertise include number theory and Performance Award (BESSIE) and a 2008 Charles Flint recreational mathematics. Former chief of Kellogg Arts and Letters Award from Bard College. mathematics, National Museum of Mathematics. SLC, 2017– Previously taught at University of Texas and Texas State University. SLC 2017- Ramya Ramnarayan Dance An accomplished Bharathanatyam performer, Victoria Redel Writing choreographer, and educator, Ramnarayan’s BA, Dartmouth College. MFA, Columbia University. extraordinary mastery of the ancient Indian dance Author of three books of poetry and four books of form has catapulted her into becoming a pioneer of fiction, including her most ecr ent collection of the art of Bharatanatyam. She has received stories, Make Me Do Things (2013), for which she was international recognition and has performed at awarded a 2014 Guggenheim fellowship for fiction. venues globally. She is a protégé of two exponents of Her novels include The Border of Truth (2007) and the dance form Kalaimamani, SK Rajarathnam Pillai Loverboy (Graywolf, 2001/Harcourt, 2002), which and Padma Bhushan Kalanidhi Narayanan; she is was awarded the 2001 S. Mariella Gable Novel Award recognized as a torch bearer of this art, who blends and the 2002 Forward Silver Literary Fiction Prize tradition with innovation. Ramnarayan has won the and was chosen in 2001 as a Los Angeles Times Best much coveted “Kalaimamani” and “Nadanamamani” Book. Loverboy was adapted for a feature film titles, which are among the highest honors directed by Kevin Bacon. Swoon (University of conferred upon a performing artist in India. She has Chicago Press, 2003), was a finalist orf the James received a special award from the Cleveland Laughlin Award. Her work has been widely Thyagaraja Aradhana, the honorable title of Nrithya anthologized and translated; her fiction, poetry, and Seva Mani. She has been selected by the Government essays have appeared in numerous magazines and of India as the top-graded Bharatanatyam journals, including Granta.com. Harvard Review, The performing artist; the Senate and General Assembly FACULTY 215

Quarterly, The Literarian, The New York Times, Los from student composers. And at Stony Brook Angeles Times, O, The Oprah Magazine, Elle, BOMB, University, he continued his studies with Gilbert More, and NOON. SLC, 1996– Kalish, earning master's and doctorate degrees. Rhodebeck has given performances, lectures, and Nelly Reifler Writing master classes at many universities, including BA, Hampshire College. MFA, Sarah Lawrence College. Hamilton College, Vanderbilt University, and the Author of a story collection, See Through, and a Peabody Institute at Johns Hopkins University. He can novel, Elect H. Mouse State Judge; fiction in also be heard on numerous recordings, including magazines and journals, including Story, Tweed's, Lost Dog’s Chamber Music of Philippe Bodin and BOMB, McSweeney’s, Nerve, Black Book, The Milan Christopher Bailey's album of piano works, Review, and Lucky Peach, as well as in the Glimmering Webs. Currently, in addition to being the anthologies 110 Stories: New York Writes pianist for the Lost Dog New Music Ensemble, he is After September 11, Lost Tribe: New Jewish Fiction the choral accompanist at the Riverdale Country from the Edge, Found Magazine’s Requiem for a Paper School. SLC, 2017– Bag, and No Near Exit: Writers Select Their Favorite Work From Post Road Magazine. Fiction also read on Sandra Robinson Asian Studies NPR’s Selected Shorts and as an Audible a la Carte BA, Wellesley College. PhD, University of Chicago. edition. Recipient of a Henfield Prize, a ASU Special interest in South Asian cultures, religions, Explorations Prize, and a Rotunda Gallery Emerging and literatures. Two Fulbright awards for field Curator grant for work with fiction and art. Writer in research in India. Articles, papers, and poems appear Residence, Western Michigan University, 2014; in international venues; ethnographic photographs recommendations editor at Post Road, 2010-present. exhibited. Chair of the South Asia Council and SLC, 2002– member of the board of directors of the Association for Asian Studies; administrative board of Harvard- Janet Reilly Politics Radcliffe College; senior fellow, Center for the AB, Duke University. MSt, Oxford University. MPhil and Humanities, Wesleyan University; delegate to the PhD, City University of New York Graduate Center. United Nations summit on global poverty, held in Research interests include migration, human rights, Copenhagen; group leader for the Experiment in citizenship, transnationalism, refugee protection International Living; national selection boards for and asylum, humanitarian relief, and international institutional Fulbright grants. SLC, 1990– law. Current research project examines the Liberian diaspora’s civic engagement both in the United Patrick Romano Music States and in the process of postconflict peace BM, MM, West Chester University. Currently choral building in Liberia, paying particular attention to the director at Riverdale Country School, Manhattan role of migration and state policies in influencing School of Music Preparatory Division. Member of the civic participation in each country. Worked at the faculty of Perlman Summer Music Program. An United Nations High Commission for Refugees established tenor soloist, specializing in the Baroque (UNHCR) in Turkey and Guinea and Save the Children and classical repertoire; performed with Waverly Foundation in Ethiopia. SLC, 2012– Consort, American Bach Soloists, Bethlehem Bach Choir, and Rifkin Bach Ensemble; guest soloist at Jacob Rhodebeck Music Marlboro Music Festival, Pablo Casals Festival, and BM, University of Cincinnati, College–Conservatory of University of Maryland Handel Festival; recorded the Music. MM, DMA, Stony Brook University. Pianist Bach B minor Mass with American Bach Soloists, the known for his tremendous command of the Mozart Requiem with Amor Artis Choir and Orchestra, instrument and his enthusiasm for performing new and the Bach St. John Passion with Smithsonian and little-known music, Rhodebeck’s performance of Chamber Players. SLC, 1999– Michael Hersch’s three-hour solo piano work, The Vanishing Pavilions, was described as “astounding” Tristana Rorandelli Italian, Literature by David Patrick Stearns in The Philadelphia Inquirer BA (Magna cum laude), Università degli Studi di and “a searing performance” in The New York Times. Firenze, Florence, Italy. MA, PhD (with distinction), Prior to attending college, Rhodebeck studied piano New York University. Areas of specialization: 20th- with Christopher Durrenberger at Wittenberg century Italian women’s writings; modern Italian University. At the University of Cincinnati, College- culture, history, and literature; fascism; Western Conservatory of Music (CCM), he studied with medieval poetry and thought. Recipient of the Julie Elizabeth Pridonoff and performed five solo recital and Ruediger Flik Travel Grant, Sarah Lawrence programs featuring contemporary works, as well as College, for summer research, 2008; Penfield a recital comprised entirely of works commissioned fellowship, New York University, 2004; and Henry 216 Faculty Mitchell MacCracken fellowship, New York University, Domenica Ruta Writing 1998-2002. Publications: Nascita e morte della BA, Oberlin College. MFA, University of Texas-Austin, massaia di Paola Masino e la questione del corpo Michener Center for Writers. Author of With or materno nel fascismo in Forum Italicum (Spring Without You, a memoir published in 2013. Her short 2003). Translations: The Other Place, by Barbara fiction has appeared in Epoch and Indiana Review. Serdakowski, and Salvation, by Amor Dekhis, in SLC, 2017– Multicultural Literature in Contemporary Italy (editors Graziella Parati and Marie Orton, Fairleigh Efeya Ifadayo M Sampson Dance Dickinson University Press, 2007). SLC, 2001-2002, BFA, Temple University. MFA, Sarah Lawrence College. 2004, 2005– Dancer, educator, and performer. Honed her talent as a member of Moving With the Spirit, her parent’s Shahnaz Rouse Joseph Campbell Chair in the African diasporic dance company for children; Humanities—Sociology continued her formal training at Brooklyn’s Phillipa BA, Kinnaird College, Pakistan. MA, Punjab University, Schuyler School. Recipient of a full scholarship to the Pakistan. MS, PhD, University of Wisconsin-Madison. Charles Moore Dance Theatre, under the direction of Special student, American University of Beirut, Ella Thompson Moore, and apprenticeships with Lebanon. Academic specialization in historical Ronald K. Brown/Evidence and Urban Bush Women. sociology, with emphasis on the mass media, gender, Work presented as a part of Harlem Stage’s E-Moves. and political economy. Author of Shifting Body Served as a teaching artist for various arts education Politics: Gender/Nation/State, 2004; co-editor, programs, including Casita Maria Center for Arts Situating Globalization: Views from Egypt, 2000; Education and DreamYard. Currently a member of contributor to books and journals on South Asia and many performance nation/families, where she is the Middle East. Visiting faculty, University of Hawaii immersed in her study and performance of Afro- at Manoa and American University in Cairo. Member, Haitian, Afro-Cuban, Yoruba, and various West editorial advisory board, Contributions to Indian African and contemporary modern dance and music Sociology; past member, editorial committee, Middle forms. Those venues include Ase Dance Theatre East Research and Information Project. Past Collective, Movement for the Urban Village, Charles consultant to the Middle East and North Africa Moore Dance Theatre, and The Ring Shout Music Program of the Social Science Research Council, as Ensemble. SLC, 2014– well as to the Population Council West Asia and North Africa Office (Cairo). Recipient of grants from Misael Sanchez Filmmaking and Moving Image Arts Fulbright-Hays Foundation, Social Science Research BFA, New York University. Certificate in Producing, Council, American Institute of Pakistan Studies, and The New School. Co-founder and director of Council on American Overseas Research Centers. SLC, instruction at The International Film Institute of New 1987– York, currently working in collaboration with Sarah Lawrence College. Recent production credits include Tara Rubin Theatre a feature-length documentary, Last Call (director and cinematographer), now in post-production and Sara Rudner Dance producer on the feature-length narrative, Central BA, Barnard College. MFA, Bennington College. Dancer Avenue, scheduled to cast Marisa Tomei and Lorraine and choreographer; participated in the development Bracco. A book-in-progress on cinematography and performance of Twyla Tharp’s modern dance lighting techniques is titled Lighting Tricks and repertory; founded and directed the Sara Rudner ShortCuts. Staff member, faculty member, and head Performance Ensemble. Recent choreographic of the cinematography concentration at Columbia projects include Dancing-on-View, one of a series of University’s Graduate Film Division, where he dance marathons, and Heartbeat, a fusion of supervises students on thesis productions. Past work technology and dance. Currently a member of includes four one-hour specials on Latinos in the Ersaloly Mameraem, a dancers’ consortium; past media for network television, short documentary collaborations have included Mikhail Baryshnikov, projects, films, music videos, and industrials. SLC, Dana Reitz, and Christopher Janney. Choreographer 2009– for theatre and opera productions at the Public Theater, Salzburg Festival, Santa Fe Opera, and Paris Wayne Sanders Music Opéra. Awards include a Bessie, a John Simon BM, Roosevelt University. Voice teacher, coach, and Guggenheim Memorial fellowship, a Dance Magazine pianist; collaborated and performed with Kathleen award, and support from the National Endowment Battle, Jessye Norman, Florence Quivar, and the late for the Arts and the New York State Council on the William Warfield; onsultc ant to the Houston Grand Arts. SLC, 1999– Opera, the Savonlinna Opera Festival (Finland), and FACULTY 217

Munich’s Münchener Biennale; provided musical Amarillo Opera, Frankfurt Opera, Middleton direction for presentations ranging from an all-star Symphony, and National Opera Ebony. SLC, 2008, tribute to Marian Anderson at Aaron Davis Hall (New 2018– York) to Porgy and Bess in Helsinki and Savonlinna, Moscow, and Tallinn. Co-founder of Opera Ebony, a Barbara Schecter Director, Graduate Program in historic African American opera company based in Child Development/Psychology—Psychology New York; participated in touring performances of BA, Sarah Lawrence College. MA, PhD, Teachers Opera Ebony’s acclaimed Black Heritage concert College, Columbia University. Developmental series and served as its conductor over the course of psychologist with special interests in cultural its international run in Canada, Iceland, and psychology, developmental theories, and language Switzerland. SLC, 1996– development; author and researcher on cultural issues in development and metaphoric thinking in Kristin Zahra Sands Frieda Wildy Riggs Chair in children. SLC, 1985– Religious Studies—Religion BA, The New School. MA, PhD, New York University. Carsten Schmidt Music Special interests include Sufism, Qur’anic exegesis, Künstlerische Abschlussprüfung “mit Auszeichnung,” religion and media, and political theology. Author Folkwang-Hochschule, Essen, Germany. MM, Artist of Sufi ommentC aries on the Qur’an in Classical Diploma, Indiana University. MMA, DMA, Yale Islam and numerous articles on mystical exegesis. University. Extensive performance and broadcast Translator of Abu’l-Qasim al-Qushayri’s Subtle activities as soloist, chamber musician, and soloist Allusions (Part I) for The Great Commentaries on the with orchestras throughout Europe, North America, Holy Qur’an Project. SLC, 2003– and Japan; numerous master classes, lectures, and workshops at educational and research institutions. Alejandro Satz Physics Special interests include: keyboard literature and BS, MS, University of Buenos Aires. PhD, University of performance practices; early keyboard instruments; Nottingham (UK). Research focus on quantum field the music of Ernst Krenek; the relationship of theory and semiclassical gravity. Current research performance, analysis, hermeneutics, and recent involves formulating notions of entanglement gender studies; and the interaction of poetry and entropy and informational content for a discrete music in song repertoire. Member, artistic board, subset of quantum field observables and Volte Foundation for Chamber Music, the applying them in cosmology, black-hole physics, and Netherlands; artistic director, International Schubert quantum gravity. Previously researched and taught Festival 1997; research fellow, Newberry Library; at Penn State University. SLC, 2017– fellow, German National Scholarship Foundation. SLC, 1998– La-Rose Saxon Music BA, Bennett College (Greensboro, NC). MA, Manhattan Samuel B. Seigle Classics, Greek, Latin, Literature School of Music. Postgraduate work in music BA, University of Pittsburgh. AM, Harvard University. education at Columbia University’s Teachers College. Classical philologist; scholar of Greek dance, Greek Saxon has performed numerous recitals and and Roman poetic structure, linguistics, ancient conducted master classes both nationally and religions and mythology, political and social internationally, including at South Carolina State conventions of ancient cultures and their University, Canberra University (Australia), relationship to the contemporary world; president Birmingham Opera, New York City Opera educational (1973-1975) and censor (1977-1993) of New York workshops, and Hoff Barthelson Music School. She Classical Club. SLC, 1964– taught voice at the Harlem School of the Arts, Brooklyn Academy of Music, and Mount Vernon Music Ramin Serry Filmmaking and Moving Image Arts Academy. She is equally at home on the operatic, BA, University of Illinois. MFA, Columbia University musical theatre, and concert stages. Her signature School of the Arts. Screenwriter, director; wrote and role of Bess in Gerswhin’s Porgy and Bess has toured directed two feature films, Maryam (2002) throughout the United States, Europe, Asia, and and Loveless (2011). Serves on the screenwriting Australia. She has been seen on Broadway in Tony faculty of Columbia University’s School of the Arts Award-winning Jelly’s Last Jam and Off-Broadway in and of Hunter College. Awards include: Golden Reel A Ballad for Bimshire. She has appeared as guest Award for Best Film, The Tiburon International Film soloist with the Pushkin Festival(Moscow), Polish Festival; and Emerging Filmmaker Award, St. Louis Radio Orchestra, Saskatoon Symphony, Goeteburg International Film Festival. SLC, 2011– Opera, Reykjavik Symphony, Phoenix Symphony, 218 Faculty Vijay Seshadri Writing Brooklyn Studios for Dance, Cathy Weis’s Sundays on BA, Oberlin College. MFA, Columbia University. Author Broadway, in Uruguay at Teatro Solis, and in of Wild Kingdom, The Long Meadow, The Melbourne, Australia, at The SUBSTATION and Monash Disappearances (New and Selected Poems; Harper University's Museum of Modern Art. In 2017, he Collins India), and 3 Sections (September, 2013); worked in Paris, France, with dancers from De l’Air former editor at The New Yorker; essayist and book dans l’Art on a Set and Reset/Reset project, based on reviewer in The New Yorker, The New York Times Book choreography by Trisha Brown. Recently, he Review, The Threepenny Review, The American choreographed a work with students from the Scholar, and various literary quarterlies. Recipient of Victorian College of the Arts in Melbourne. He the 2014 Pulitzer Prize for Poetry, James Laughlin continues to teach workshops, classes, and Trisha Prize of the Academy of American Poets, MacDowell Brown repertory internationally. SLC, 2018- Colony’s Fellowship for Distinguished Poetic Achievement, The Paris Review’s Bernard F. Conners William Shullenberger Literature Long Poem Prize; grants from New York Foundation BA, Yale University. MA, PhD, University of for the Arts, National Endowment for the Arts, John Massachusetts. Special interests in Milton, 17th- Simon Guggenheim Memorial Foundation; and area century English literature, English Romanticism, studies fellowships from Columbia University. SLC, African literature, theology and poetics, and 1998– psychoanalytic criticism. Author of Lady in the Labyrinth: Milton’s ‘Comus’ as Initiation; co-author Sally Shafto Film History with Bonnie Shullenberger of Africa Time: Two A widely published interdisciplinary film scholar, her Scholars’ Seasons in Uganda; essays published in specialties include the French Wave, international Milton Studies, Renaissance Drama, and other art cinema, and Maghribi and African cinema. After journals and collections. Senior Fulbright lecturer at defending her dissertation (Ut picture cinema: The Makerere University, Uganda, 1992-1994; director of Strange Adventure of Jean-Luc Godard) at the NEH Summer Seminars on the classical and the University of Iowa, she held a post-doctorate at modern epic, 1996 and 1999. SLC, 1982– Princeton University. In Paris, where she lived for a decade, she taught in a film school, translated for Mark R. Shulman History Cahiers du cinéma, and collaborated with the Centre BA, Yale University. MSt, Oxford University. PhD, Pompidou. Between 2010 and 2015, she taught film University of California–Berkeley. JD, Columbia studies at a newly-established university in University. Served as editor-in-chief of the Journal of Ouarzazate, Morocco. While in Morocco, she actively Transnational Law at Columbia and received the covered developments in that country’s national Berger Prize for international law. Served as cinema for the online film journals Framework and associate dean for global admissions at New York Senses of Cinema. In 2007, she published her University and assistant dean for Graduate Programs monograph on a group of avant-garde French films & International Affairs at Pace Law School. Created made in the aftermath of May ’68: The Zanzibar Films and directed the Worldwide Security Program at the and the Dandies of May 1968 (Paris Expérimental). In EastWest Institute and practiced law at Debevoise & 2016, her translation and editing of the filmmakers Plimpton. A long-time leader of the Association of Jean-Marie Straub and Danièle Huillet, Writings, was the Bar of the City of New York, he currently chairs published by Sequence Press (New York). Currently, the Committee on Asian Affairs and serves on the she is translating the letters of Nicolas de Staël. SLC, Council on International Affairs and the Task Force 2017- on National Security and the Rule of Law. He previously chaired the City Bar’s Committee on Stuart Shugg Dance International Human Rights and the Council on BA, Victorian College of the Arts (Melbourne, International Affairs. He has taught the laws of war Australia). MFA, Bennington College. In Australia, at Columbia Law School; military history at Yale, the Shugg worked extensively with Russell Dumas’ Dance Air War College, and Columbia (SIPA); and human Exchange and Linda Sastradipradja. He also appeared rights at Sarah Lawrence and Hunter colleges. He in the works of Lucy Guerin, Philip Adams, and has published widely in the fields of history, law, and Antony Hamilton. In New York City, he worked with international affairs. His books include The Laws of Jon Kinzel, Jodi Melnick, and Cori Olinghouse and was War: Constraints on Warfare in Western a member of the Trisha Brown Dance Company from World (1994), Navalism and the Emergence of 2011 to 2016. He has presented his own American Sea Power (1995), An Admiral’s choreographic work in New York at the Centre for Yarn (1999), and The Imperial Presidency and the Performance Research, Gibney Dance Centre, Consequences of 9/11 (2007). His articles have FACULTY 219 appeared in the Columbia Journal of Transnational Orlinghouse, Daniel Rigazzi, and various universities; Law, Journal of National Security & Policy, Fordham puppetry associate for War Horse on Broadway. Law Review, Journal of Military History, Intelligence Awarded a variety of grants and awards for theatre and National Security, and The New York Times, work. SLC, 2012– among others. SLC, 2009– Kanwal Singh Provost and Dean of Faculty—Physics Michael Siff Computer Science BS, University of Maryland–College Park. MA, PhD, BA, BSE., MSE, University of Pennsylvania. PhD, University of California–Berkeley. Postdoctoral University of Wisconsin-Madison. Special interests in research associate, University of Oslo, Norway. programming languages, cryptology, and software Special interests in low-temperature physics, engineering; author of research papers on interplay science education and education policy, and between type theory and software engineering. SLC, scientific and quantitative literacy. Author of articles 1999– in theoretical condensed-matter physics (models of superfluid systems) and physics teaching. Taught at Joan Silber Writing (on leave fall semester) Middlebury College, Wellesley College, and Eugene BA, Sarah Lawrence College. MA, New York University. Lang College at The New School University. SLC, Author of three story collections: Fools (National 2003– Book Award finalist and nominated for the PEN/ Faulkner Award), Ideas of Heaven (finalist orf the Paul Singh Dance National Book Award and the Story Prize), and In My BFA, University of Illinois. Danced for Gerald Casel, Other Life; five novels: Improvement (winner of the Erica Essner, Risa Jaroslow, Douglas Dunn, National Book Critics Circle Award in fiction and the Christopher Williams, and Will Rawls and was PEN/Faulkner Award for Fiction), The Size of the featured in the inaugural cast of Punchdrunk World, Lucky Us, In the City, and Household Words Theatre Company’s American debut of Sleep No More. (winner of the PEN/Hemingway Award); short stories In 2014, he was a dancer in Peter Sellars’ opera, The anthologized in The Scribner Anthology of Indian Queen. Most recently, he danced for Peter Contemporary Short Fiction, The Story Behind the Pleyer in a large-scale improvisation work in Berlin. Story, The O. Henry Prize Stories (2007 and 2003), and Work presented at the Judson Church, New York Live two Pushcart Prize collections. Recipient of a Arts, Joe’s Pub, Dixon Place, and La Mama E.T.C; in literature award from the American Academy of Arts 2004, his solo piece, Stutter, was presented at the and Letters and grants from National Endowment for Kennedy Center in Washington, DC. Taught contact the Arts and New York Foundation for the Arts. SLC, improvisation around the world during CI training 1985– festivals in Israel, Spain, Germany, France, Finland, and India. In NYC, he continues dancing and Lake Simons Theatre choreographing for his company, Singh & Dance. SLC, BFA, University of North Carolina School of the Arts. 2015– École Jacques Lecoq, Paris. Theatre work includes designing sets, puppets, and costumes and directing, David Sivesind Psychology choreographing, and performing. Drawn to BA, University of Northern Iowa. Addiction Studies incorporating puppetry, movement, and live music Graduate Certificate, University of Minnesota. MA, into the theatre, shows are frequently made from PhD, New School for Social Research. Assistant the ground up. Work seen in many New York professor of psychology, Mount Sinai School of theatres, including HERE Theatre, La Mama E.S.T., P.S. Medicine. Clinical psychologist with special interests 122, St. Mark’s Church, Dixon Place, and One Arm Red. in addiction, HIV treatment, chronic health condition Past collaborative work includes Electric identity adjustment, LGBT issues, and integrated Bathing, Wind Set-up, White Elephant, Alice’s psychology practice in health-care settings. SLC, Adventures in Wonderland, What’s Inside the Egg?, 2013– How I Fixed My Engine With Rose Water, and Etiquette Unraveled. As an artistic associate with the Hip Lyde Cullen Sizer History Pocket Theatre in Fort Worth, Texas, designed sets BA, Yale University. MA, PhD, Brown University. and puppets for a multitude of productions over the Special interests include the political work of years, presented seven collaborative theatre pieces, literature, especially around questions of gender and performed in more than 30 world premieres, and race; US cultural and intellectual history of the 19th launched its Cowtown Puppetry Festival. Puppet/ and early 20th centuries; and the social and cultural mask designer for New York Shakespeare Festival, history of the US Civil War. Authored The Political Signature Theatre Company, My Brightest Diamond, Work of Northern Women Writers and the American Division 13, Kristin Marting, Doug Elkins, Cori Civil War, 1850-1872, which won the Avery O. Craven 220 Faculty Award from the Organization of American Historians. Records labels. Recipient of the Artist International The Civil War Era: An Anthology of Sources, edited Award; grand prize winner of the Korean National with Jim Cullen, was published in 2005; book Competition in violin and chamber music. SLC, 1980– chapters are included in Love, Sex, Race: Crossing Boundaries in North American History; Divided Alexandra Soiseth Writing Houses: Gender and the American Civil War; and A BA, University of Saskatchewan; BAA, Ryerson Search for Equity. SLC, 1994– University; MFA, Sarah Lawrence College. She has taught writing to a variety of students including Jacob Slichter Writing undergraduate and graduate students, as well as BA, Harvard College. Author of So You Wanna Be a high school students, seniors, and men and women Rock & Roll Star: How I Machine-Gunned a Roomful of in prison. She has been the recipient of a Canada Record Executives and Other True Tales from a Arts Council grant, an Ontario Arts Council grant, and Drummer’s Life (Broadway Books, 2004); contributor is the former managing editor of and to The New York Times; commentator for National communications director for Global City Review, a Public Radio’s Morning Edition; drummer for the New York City based literary magazine. Her work has Minneapolis-based band, Semisonic. SLC, 2013– appeared on babycenter.com, literarymama.com, and in McGill Street Magazine, The Ryersonian, and on the Yan Slobodkin History radio program LifeRattle, among others. Her memoir, BA, Oberlin College. MA, PhD, Stanford University. Choosing You, was published in 2008 by Seal Press. Specializes in the history of modern Europe, SLC, 2000- especially French imperial and colonial history. Research addresses the history of famine in North Michael Spano Visual and Studio Arts (on leave fall Africa, West Africa, and Southeast Asia and its semester) relation to ideas of scientific ontrc ol, political BA, Queens College. MFA Yale University. Solo and obligation, and humanitarian ethics. Additional group shows at the Museum of Modern Art, Fogg Art research and teaching interests include history of Museum, Cleveland Museum of Art, Memphis Brooks science, transnational history, and human rights and Museum of Art, Brooklyn Museum of Art, and humanitarianism. His recent articles include, National Portrait Gallery. Works represented in the “Famine and the Science of Food in the French permanent collections of the Whitney Museum of Empire” and “State of Violence: Administration and American Art, San Francisco Museum of Modern Art, Reform in French West Africa.” SLC, 2018- St. Louis Art Museum, Baltimore Museum of Art, Museum of Fine Art in Boston, Los Angeles County Fredric Smoler Literature, History Museum of Art, Princeton Museum of Art, Art BA, Sarah Lawrence College. MA, MPhil, PhD, Institute of Chicago, and Museum of Modern Art in Columbia University. Central interest in European New York. Recipient of grants and fellowships from history and culture, with special emphasis on New York Foundation for the Arts, Camera Works, military history and literature. Writes regularly for CAPS, Art Matters, and the Guggenheim Foundation. First of the Month and Dissent; occasional Author of Time Frames: City Pictures and Auto contributor to The Nation, The Observer (London); Portraits. SLC, 1999– former editor, Audacity; contributing editor, American Heritage Magazine. SLC, 1987– Stuart Spencer Theatre BA, Lawrence University (Appleton, Wisconsin). MFA, Sungrai Sohn Music (Violin, Viola, Director of Sarah Lawrence College. Author of numerous plays Chamber Music, Head of String Program, performed in New York and around the country, Orchestra Projects Conductor) including Resident Alien (Broadway Play Publishing). BA, Peabody Institute of The Johns Hopkins Other plays include In the Western Garden (Broadway University. MFA, Sarah Lawrence College. Concert Play Publishing), Blue Stars (Best American Short violinist distinguished for international Plays of 1993-94), and Sudden Devotion (Broadway performances in the United States, Europe, Asia, Play Publishing). A playwriting textbook, The Africa, and Canada. Appeared as soloist and chamber Playwright’s Guidebook, was published by Farrar, musician with numerous orchestras and ensembles, Straus and Giroux in 2002. Recent plays are Alabaster including New York Pro Arte Chamber Orchestra, City, commissioned by South Coast Rep, and Judy Laurentian String Quartet, and Amasi Trio. Garland Died for Your Sins. Former literary manager Recordings appear on the Sony Classics, Musical of Ensemble Studio Theatre; fellow, the Edward Albee Heritage Society, Newport Classic, and Perrion Foundation; member, Dramatist Guild. SLC, 1991– FACULTY 221

Robin Starbuck Filmmaking and Moving Image Arts Joel Sternfeld The Noble Foundation Chair in Art and BA, Salem College (North Carolina). MFA, School of Cultural History—Visual and Studio Arts the Art Institute of Chicago. Postgraduate certificate BA, Dartmouth College. Photographer/artist with in film/video editing and postproduction, Tisch exhibitions at Museum of Modern Art, Art Institute of School of the Arts, Film Program, New York Chicago, and San Francisco Museum of Modern Art. University. New York-based experimental filmmaker Recipient of two Guggenheim fellowships and a Prix and animator. Work in experimental video, de Rome. Author of American Prospects, On This installation art, animation, and media design for Site, Stranger Passing, and 10 other books. SLC, theatre exhibited in museums, cultural centers, 1985– galleries, and festivals in the United States, Europe, and South America. Recipient of multiple awards and Stew Stewart Theatre fellowships for artist residencies, both nationally Irene Elizabeth Stroud Religion and internationally. Her studio orientation is in AB, Bryn Mawr College. MDiv, Union Theological experimental film, animation, and intermedia Seminary in the New York City. STM, The Lutheran installation. Current projects include a documentary Theological Seminary at Philadelphia. PhD, Princeton film on the Apsaalooke Tribe of Montana, University. Research focus on intersections of experimental film projects for installations, and the religion, race, and class in US history and on ongoing production of video and animation religion’s role in modern science and medicine. projections for theatre and opera in New York and Stroud has presented research on liberal Europe. A full-time professor of experimental film Protestantism and eugenics at annual meetings of and animation, she has been a visiting artist-in- the American Academy of Religion and American residence at several studios and institutions, Society of Church History. Research fellow at ACPE, including the Media Technology Center of the Georgia Inc., a nonprofit organization that provides Institute of Technology in Atlanta and the accredited clinical education programs for spiritual Experimental Sound Studio in Chicago. SLC, 2014– care professionals of any faith and in any setting. Noa Steimatsky Film History Contributed to Katie Day’s Faith on the Avenue BA, Hebrew University of Jerusalem. MA, PhD, New (Oxford, 2013), a study of nearly 100 congregations York University. Steimatsky’s teaching and on a single city street in Philadelphia. Has been an scholarship interlace questions of cinema aesthetics ordained United Methodist pastor. SLC, 2018- with historical considerations and advance through Frederick Michael Strype Margot C. Bogert both close analysis of films and archival research. Distinguished Service Chair—Filmmaking and Her work in all of its aspects is engaged with the Moving Image Arts cinema’s relationship to other arts and media, with BA, Fairfield University. MFA, Columbia University questions of realism and modernism, and with the School of the Arts. Postgraduate study: American mid-20th-century “crisis of representation.” Film Institute, New York University Tisch School of Steimatsky’s first book, Italian Locations: the Arts. Screenwriter, producer, director. Recent Reinhabiting the Past in Postwar Cinema (University awards, grants, festivals: Grand Prize, Nantucket Film of Minnesota Press, 2008), explored the sense of Festival, Tony Cox Award in Screenwriting; Nantucket place and the burden of ruins in an era of crisis and Screenwriters Colony; World Jewish Film Festival, reconstruction. Her groundbreaking research on the Askelon, Israel; Tehran International Film Festival; refugee camp that occupied the Cinecittà movie Berlin Film Festival Shorts; Uppsala Sweden Film studio was the inspiration for a documentary film Festival; USA Film Festival; Washington (DC) Jewish and is now being developed into a book. Quite Film Festival; Los Angeles International Children’s distinct has been Steimatsky’s engagement with the Film Festival; Temecula Valley International Film human visage as a privileged site of representation; Festival “Best of the Fest”; Portugal Film Festival her recent book, The Face on Film (Oxford University Press Award; Fade In Magazine Award/Best Short Press, 2017), explores the convergence of archaic Screenplay; Angelus Film Festival Triumph Award; desires and modern anxieties that the cinema’s Austin Film Festival Screenwriting Award; Heartland encounter with the face across a wide variety of Film Festival Crystal Heart Award; New Line Cinema films. Steimatsky was associate professor at Yale Filmmaker Development Award; Hamptons and at the University of Chicago and most recently International Film Festival; Schomburg Cultural taught as visiting faculty at University of California- Grants. Raindance Pictures: projects developed for Berkeley. SLC, 2018– Columbia/Tristar/Sony, Lifetime, MTM Productions, 222 Faculty Family Channel, FX, Alliance/ Atlantis, Capella Films, president, Metro Harp Chapter of the American Harp Turman-Foster Productions, James Manos Society; founder, NYC Harp Orchestra. Performed at Productions, FX, Avenue Pictures. SLC, 2003– Lincoln Center Outdoors, Congressional Building by invitation of President Obama, Irish Arts Center (NY), Rachelle Sussman Rumph Associate Dean of and Carnegie Hall. SLC, 2017– Studies—History Nadeen M. Thomas History Sterling Swann Theatre BA, University of Pennsylvania. MSEd, Hunter College, BA, Vassar College. Postgraduate training at London CUNY. PhD, CUNY Graduate Center. Research interests Academy of Music and Dramatic Art (LAMDA), at include immigration, race, ethnicity, education Sonia Moore Studio, and with David Kaplan (author, systems, and nationalism in the United States and Five Approaches to Acting). President and artistic Europe. Also interested in the relationship between director, Cygnet Productions, National Equity Theatre the built environment and social organization and for Young Audiences Company; leading performer, how the layout of urban areas creates spaces of Boston Shakespeare Company; guest faculty at belonging and nonbelonging. Recently presented Storm King School, Western Connecticut State research on the French antiveiling laws and the University, and at Vassar College; certified instructor, reinterpretation of public and private spaces, the Society of American Fight Directors (SAFD); winner of Parisian public transportation system and its role in the Society of American Fight Directors’ 2006 Patrick structuring geographic and social mobility, and the Craen award; designated practitioner, Stough Parisian botanical gardens as an agent and symbol Institute of Breathing Coordination; certified eachert , of national identity. SLC, 2015– Alexander Technique. SLC, 1991– Clifford Thompson Writing Philip Swoboda History BA, Oberlin College. Essayist and creative nonfiction BA, Wesleyan University. MA, MPhil, PhD, Columbia writer; author of the collection Love for Sale and University. Special interest in the religious and Other Essays and the memoir Twin of Blackness, as intellectual history of early modern Europe and in well as essays/articles published in magazines, the history of Eastern Europe, particularly Russia and journals, and anthologies. Recipient of a Whiting Poland. Author of articles on early 20th-century Writers’ Award. SLC, 2016– Russian philosophy and religious thought; served on the executive committee of the Mid-Atlantic Slavic David Thomson Dance Conference. Previously taught at Columbia University, Hunter College, Lafayette College, Cecilia P. Toro Biology University of Wisconsin–Madison. SLC, 2004– BA, Reed College. PhD, Brown University. Postdoctoral Fellow, Oregon Hearing Research Center and Vollum Kenneth Tam Visual and Studio Arts Institute, Oregon Health & Science University. BFA, Cooper Union. MFA, University of Southern Neurobiologist with a special interest in sensory hair California. Core Residency Program, Museum of Fine cell function. Author of papers on dopamine in the Arts, Houston. Lower Manhattan Cultural Council’s zebrafish lateral line, voltage-gated calcium Workspace program, 2017-2018. Solo exhibitions at channels, and synaptic physiology. Recipient of Night Gallery and Commonwealth & Council, Los grants from the National Institutes of Health. Angeles, and at MIT’s List Center for Visual Art. Previously taught at Linfield ollege.C SLC, 2018- Participated in the 2016 Made in LA Biennial at the Hammer Museum and will have a solo exhibition at Alice Truax Writing the Minneapolis Institute of Art in 2018. His work has BA, Vassar College. MA, Middlebury College. Editor at been written about in Artforum, Los Angeles Times, The New Yorker, 1992-2002; book editor, Frieze, Modern Painters, Contemporary Art Review, LA, 2001-present. Book reviews have appeared in The T Magazine, and ArtReview. Recipient of a grant from New York Times Book Review, The New Yorker, Vogue, the Art Matters Foundation, the California and The New York Review of Books. Edited books Community Foundation Fellowship, and a Foundation include Random Family by Adrian Nicole LeBlanc, for Contemporary Arts Emergency Grant. Taught at Mostly True by Molly O’Neill, Aftermath by Joel Rice University and a faculty member at Bard’s Avery Meyerowitz, The Surrender by Toni Bentley, Send by Milton School of the Arts. SLC, 2017– William Schwalbe and David Shipley, King’s Gambit by Paul Hoffman, and Violent Partners by Linda Mills. Mia Theodoratus Music (Celtic Harp) SLC, 2004– BFA, University of Texas–Austin. MFA, California Institute of the Arts. Teacher, Irish Arts Center; FACULTY 223

Neelam Vaswani Theatre Sasha Welsh Dance Originally from Atlanta, GA, Vaswani spent the last 18 BA, Swarthmore College. MFA, Temple University. years working as a production stage manager and PDDS, Laban Centre, London. Choreographer whose production manager in New York City. She currently work explores states of awareness, the potential of serves as the director of production at Sarah memory and imagination, and the limitations and Lawrence College. In her freelance career, she has possibilities of the human body. Her choreography worked on a wide range of shows, including Mabou has been seen in venues such as Movement Research Mine’s Peter and Wendy and Mine’s Song for New at Judson Church, Dance Conversations at the Flea, York by the late Ruth Maleczech. She has stage- Dixon Place, AUNTS, Performance Mix at Joyce Soho, managed the majority of Basil Twist’s repertoire, INOVA galleries (University of Wisconsin–Milwaukee), including, Arias With A Twist, Master Peter’s Puppet Philadelphia Live Arts Festival (City Paper Pick of the Show, Petrushka, Dogugaeshi, La Bella Dormente nel Fringe in 2004), RAW Material at Dance New Bosco, and Sister's Follies. Other credits include The Amsterdam, and Studio 303 in Montreal. Her Adventures of Charcoal Boy, Wind Set-up, Don company, Victory to Others, presented its first ull-f Cristobal, and Wind-up Bird Chronicle, which was length concert at Triskelion Arts in March 2009. presented at the International Edinburgh Festival Performed with Laurie Berg and Megan Byrne, Noriko and the Singapore Arts Festival. Vaswani’s work in Kato (Japan), Alison D’Amato, Darla Stanley, Merián the theatre has brought her all over the United Soto, George Alley, and many others. Curated States, as well as overseas to France, Stockholm, performances in New York since 2006, running an Edinburgh and Singapore. Currently, she is also a experimental venue called Ulla’s House, which has member of the Alphabet Arts collective, whose focus supported the work of more than 50 diverse artists is to continue arts education through poetry and at all stages of their careers. Taught dance at puppetry—specifically to underprivileged DeSales University and Temple University. Maintains communities. And when not working in a dark a private practice teaching Pilates and dance theatre, she is the project manager for Emdee conditioning and is a long-term student of anatomist International, a textile company where she designs, Irene Dowd. SLC 2015– builds, and does all the visual merchandising for six annual trade shows. SLC, 2016– Leihua Weng Chinese BA, Zhejiang University, China. MA, Peking University, Ilja Wachs Ilja Wachs Chair in Outstanding Teaching China. PhD, University of South Carolina. Research and Donning—Literature interests include reception of classics in modern and BA, Columbia College. Special interest in 19th-century contemporary China, nationalist discourses, and European and English fiction, with emphasis on gender issues. Currently working on a book draft psychological and sociological relationships as entitled, The Straussian Reception of Plato in Modern revealed in works of Dickens, Tolstoy, Dostoevski, China: Plato, Confucius, and Mao in Cultural Politics, Balzac, Stendhal, James, Flaubert, and others. Dean to be published by Brill. Experienced in teaching of the College, 1980-85. SLC, 1965– modern and contemporary Chinese poetry and Chinese classical literature. SLC, 2016– Charmian Wells Dance BFA, MA, New York University Tisch School of the Kathy Westwater Dance Arts. A cultural historian, working in dance studies, BA, College of William and Mary. MFA, Sarah performance studies, black cultural studies, and Lawrence College. Choreographer and dancer; queer theory. She is currently pursuing her scholarly choreography presented at Dance Theater Workshop, interests as a doctoral candidate in dance studies at Brooklyn Museum of Art, and PS 122, among other Temple University. Her research is focused on the venues, and archived in the Franklin Furnace Archive concept of choreographing belonging in the African and the Walker Arts Center Mediatheque Archive. diaspora, in particular within concert dance of the Recipient of awards from New York Foundation for Black Arts Movement in New York City (1965-75). the Arts and Djerassi Resident Artists Program and of This interest stems from her performance commissions from Dance Theater Workshop, background as a dancer with Forces of Nature Dance Danspace Project at St. Mark’s Church, and Summer Theatre since 2005. She has worked as an editorial Stage’s Dance Festival. Previously a guest teacher at assistant on Dance Research Journal and taught in Bennington College, 92nd Street Y, and Trisha Brown the dance departments of Lehman College, Studio. Published writings include “Technology and Marymount Manhattan College, and Temple the Body,” an interview with Merce Cunningham in University. SLC 2017- the Movement Research Journal Millennial Issue, which she guest edited. SLC, 2001– 224 Faculty Sarah Wilcox Sociology Library (2006). Former chair of the Scottish BA, Wesleyan University. MA, PhD, University of Literature Discussion Group of the Modern Language Pennsylvania. Areas of expertise include medical Association. Author of essays published in Teaching sociology, the sociology of science and knowledge, Robert Louis Stevenson (MLA, 2013), Edinburgh gender and sexuality, and the mass media; special Companion to James Hogg (Edinburgh University interests in interactions among experts, laypersons, Press, 2012), Romanticism’s Debatable Lands and social movements. Recent new courses in (Palgrave, 2007), Keats-Shelley Journal (2005), and disability studies and the politics of health. Author of elsewhere. Poetry published in Literary Imagination, articles on lay knowledge and expertise and on Edinburgh Review, From Glasgow to Saturn, Poetry media coverage of biological ideas about sexuality. Review, Literary Review. SLC, 2008– SLC, 2005– James Wilson Music (Cello) Ousmane Wiles Dance BM, University of Michigan. MM, The Peabody Born in Senegal, West Africa, Wiles (stage name: Institute of The Johns Hopkins University. Recitalist Omari Mizrahi) has trained with Ron K Brown, Assane and chamber musician, member of the Orpheus Konte, Ephrat Asheri, The House of Mizrahi, and Marie Chamber Orchestra; appeared at Lincoln Center, Basse-Wiles. Over the years, he has trained in Carnegie Hall, Kennedy Center, Musikverein in contemporary, vogue, hip-hop, West African, and Vienna, Koelner Philharmonie, National Concert Hall house dance. Wiles has performed with Rashaad in Taipei, and Sydney Opera House. Performed at the Newsome, John Legend, Gargon City, Wunmi, Gala, Hong Kong Arts Festival, City of London Festival, The Maimouna Keita Dance Company, Ephrat Asherie Deutches Mozartfest in Bavaria, Kuhmo Chamber Dance, Forces, and, most recently, choreographed Music Festival in Finland, Mostly Mozart Festival in and performed with recording artist Jidenna at the New York, and Aspen Music Festival in Colorado. MTV Video Music Awards. Constantly looking to Former member of the Shanghai and Chester String expand his knowledge of African-rooted dance Quartets and the Da Capo Chamber Players. Currently forms, he has found his own voice by creating artistic director of the Richmond-based Chamber “AfrikFusion,” a style that fuses traditional African Music Society of Central Virginia. Teaches cello and dances and Afrobeat styles with house dance and chamber music at Columbia University in New York vogue. Omari Mizrahi received the status of “Legend” City and faculty member of the Bennington Chamber after 10 years competing in the vogue ballroom Music Conference in Vermont. SLC, 2017– scene in New York City. SLC, 2019– Matthew Wilson Music (Percussion) Sara Wilford Psychology New York-based drummer, Grammy nominee, BA, Sarah Lawrence College. MSEd, EdM, Bank Street celebrated jazz artist universally recognized for his College of Education. Former early childhood and musical and melodic drumming style, as well as public elementary school teacher; keynote speaker being a gifted composer, bandleader, producer, and and workshop leader for seminars and conferences teaching artist. Performed at the White House as on early childhood education; former member, part of an all-star jazz group for a state dinner editorial advisory board, Child magazine; contributor concert hosted by President Obama. Featured on the to Scholastic, Inc. publications; author, Tough Topics: covers of Downbeat and JazzTimes magazines in How to Use Books in Talking with Children About Life November 2009. Voted #1 Rising Star Drummer in the Issues and Problems, What You Need to Know When Downbeat Critic’s Poll. Committed to jazz education, Your Child Is Learning to Read, and Nurturing Young he travels the world with the Matt Wilson Quartet to Children’s Disposition to Learn. Roy E. Larsen Chair in inspire children. SLC, 2017– Psychology (2001-2006). SLC, 1982– Joe Winter Visual and Studio Arts Fiona Wilson Literature BA, Brown University. MFA, University of California- MA, University of Glasgow. MA, PhD, New York San Diego. Work exhibited at venues such as The University. Scholar and poet. Special interests in Kitchen, Foxy Production, X-initiative, Eyebeam, the 18th- to 21st-century British and Irish literature, Museum of Contemporary Art (San Diego), Edith Russ ecocriticism, poetry and poetics, and studies in Haus, and the Western Front. SLC, 2012; 2017- Scottish culture. Recipient of fellowships and awards from the Institute of the Advanced Study of the Heather Winters Filmmaking and Moving Image Arts Humanities, University of Edinburgh (2012), Keats- BA, Sarah Lawrence College. Studied at University of Shelley Association of America (2009), Hawthornden London, School of Visual Arts. Executive producer/ International Retreat for Writers (2008), Center for producer/director/writer. Two-time Sundance- Book Arts, New York (2007), and Scottish Poetry winning and Oscar-nominated executive producer. FACULTY 225

Credits include: Super Size Me;TWO: The Story of most recently, at Baryshnikov Arts Center. Yamazaki Roman & Nyro; The Rest I Make Up, Anywhere, u.s.a.; is a recipient of The Bessie Award in Choreography in Class Act; Convention; Google Me; Thundercats; 2007, Foundation for Contemporary Arts Grant in Silverhawks; The Comic Strip; MTV’s Real World, and 2013, NYFA Fellowship in 2016, and a Guggenheim Atom. Select project awards include: 2014 HBO Fellowship in 2018; he is also a two-time Herb Alpert Hometown Hero Award; 2014 Best Documentary, Award nominee and the current artist-in-residence Nashville Film Festival; 2009 Sarah Lawrence College at Movement Research. Throughout the years, he has Alumnae/i Citation for Achievement; 2009 Telly® been teaching at universities and institutions such Award; 2008 Special Jury Prize, Sundance Film as Bennington College, Barnard College at Columbia Festival; 2006 Best Documentary, Rhode Island University, and Yotsuya Art Studium at Kinki International Film Festival; 2006 Best Feature, University (Tokyo); he serves as director for Body Artivist Film Festival; 2004 Best Director, Sundance Arts Laboratory and Whenever Wherever Festival in Film Festival; 2004 Academy Award® Nominee, Best Tokyo. SLC, 2018- Documentary; 2004 Telly® Award; 2003 Platinum Best in Show, AURORA Award; 2000 First Place, Chicago John Yannelli Director, Program in Music and Music International Film Festival; 2000 Creative Excellence Technology; William Schuman Scholar in Award, US International Film and Video Festival. Music—Music, Dance Affiliations include oducPr ers Guild of America, BPh, Thomas Jefferson College, University of International Documentary Association, IFP, Women Michigan. MFA, Sarah Lawrence College. Composer, in Film. Founder, White Dock and Studio On Hudson innovator in the fields of electronic music and music production companies. SLC, 2011– for theatre and dance, composer of traditional and experimental works for all media, specialist in Komozi Woodard History improvisational techniques, and director of the BA, Dickinson College. MA, PhD, University of Sarah Lawrence Improvisational Ensemble. Toured Pennsylvania. Special interests in African American nationally with the United Stage theatre company history, politics, and culture, emphasizing the Black and conceived of, and introduced the use of, Freedom Movement, women in the Black Revolt, US electronic music for the productions. Freelance urban and ethnic history, public policy and persistent record producer and engineer; music published by poverty, oral history, and the experience of anti- Soundspell Productions. SLC, 1984– colonial movements. Author of A Nation Within a Nation: Amiri Baraka and Black Power Politics and Netta Yerushalmy Dance reviews, chapters, and essays in journals, Mali Yin Chemistry anthologies, and encyclopedia. Editor, The Black BS, Shaanxi Normal University, China. PhD, Temple Power Movement, Part I: Amiri Baraka, From Black University. Postdoctoral research associate, Arts to Black Radicalism; Freedom North; Michigan State University. Researcher and author of Groundwork; Want to Start a Revolution?; and Women articles in areas of inorganic, organic, and protein in the Black Freedom Struggle. Reviewer for chemistry; special interests in synthesis and American Council of Learned Societies; adviser to the structure determination of inorganic and Algebra Project and the PBS documentaries, Eyes on organometallic compounds by X-ray diffraction and the Prize II and America’s War on Poverty; board of various spectroscopic techniques, protein directors, Urban History Association. SLC, 1989– crystallography, environmental chemistry, and Kota Yamazaki Dance material science. SLC, 1996– BA, Bunka Fashion College (Tokyo). Born in Japan, Marika Yip-Bannicq Psychology Yamazaki was introduced to butoh under the BA, Sarah Lawrence College. MA, PhD, New York teaching of Akira Kasai. With an invitation from University. Postdoctoral Fellow, Columbia University. Germain Acogny to work with her Senegal-based Social psychologist with special interests in social company, Yamazaki disbanded rosy co., his Tokyo- cognition, self-regulation, interpersonal conflict, and based company that he led from 1995-2001, and left close relationships. Current work explores new Japan. Since 2003, he has been presenting works approaches to promoting constructive conflict with NY-based Fluid hug-hug at national and processes in romantic relationships and how self- international venues, including Melbourne control in the context of close relationships can be International Arts Festival, NUS for the Arts conceptualized as a dyadic, interpersonal process. (Singapore), PICA/TBA Festival, ASU Gammage, Recipient of grants from the National Science Warhol Museum, Wesleyan University, Dance Theater Workshop, Danspace Project, Japan Society, and, 226 Faculty Foundation and US Department of Health and Human workshops in Melbourne, Australia (2005), and at Services. Lecturer in psychology, Columbia University. the Centro Em Movimento in Lisbon, Portugal (1997, SLC, 2019– 1998), where she also coached Eugene O’Neill’s Mourning Becomes Electra. Served as vocal Mia Yoo Theatre consultant on 666 Park Avenue TV series and was vocal coach for The Play What I Wrote (directed by Thomas Young Music Kenneth Branagh) on Broadway, Me Myself and I by Cleveland Music School Settlement. Cleveland Edward Albee (directed by Emily Mann) at Institute of Music. Singer, actor, and conductor; Playwrights Horizons Theater, and The Family founder and conductor, Los Angeles Vocal Ensemble; Weekend by Beth Henley (directed by Jonathan principal with San Francisco Opera, Royal Opera Demme) for Manhattan Class Company Theater, as House, Opéra La Monnaie, Netherlands Opera, Opéra well as Stanley, an Off-Off Broadway production de Lyon, New York City Opera, and Houston Grand (directed by Pulitzer Prize finalist Lisa D’Amour) at Opera; festivals in Vienna, Salzburg, Holland, Maggio, HERE Arts Center. Master teacher of Chuck Jones and Munich; two Grammy nominations; two Cleo Vocal Production and an associate teacher of nominations; national tours, Broadway, Off Catherine Fitzmaurice Voicework and Level I, Alba Broadway, regional theatre, and television. SLC, Emoting Certification. Studied yoga in New Dehli, 1989– India; trained extensively in ballet and modern dance Kate Zambreno Writing and performed with various independent Author of the novels Green Girl (Harper Perennial) choreographers and dance companies in and O Fallen Angel (Harper Perennial) and Minneapolis. Co-founder of Tiny Mythic Theatre of Heroines (Semiotext(e)’s Active Agents) and Book Company in New York City and both an actor and a of Mutter (Semiotexte(e)’s Native Agents). A writer for the company. Other past performances collection of talks and essays, The Appendix Project, include leading roles in A Dream Play by August is forthcoming from Semiotext(e) in early 2019; a Stringberg, When We Dead Awaken by Henrick Ibsen, collection of stories and essays, Screen Tests, is Apocrypha by Travis Preston and Royston Coppenger forthcoming from Harper Perennial in June 2019. To at the Cucaracha Theatre, Two Small Bodies at the Write As If Already Dead, a book about Hervé Harold Clurman Theatre, The Eagle Has Two Heads at Guibert’s To the Friend Who Did Not Save My Life, is the Ohio Theatre in Soho, and Democracy in America forthcoming from the ReReading series at Columbia at the Yale Repertory Theatre and Center Stage. She University Press. Zambreno is at work on a series of has appeared in several films, including Irony, In novels exploring time, memory, and the persistence Shadow City, and The Smallest Particle by Ken of art. She also teaches in the writing program at Feingold and The Madness of the Day by Terrance Columbia University. SLC, 2013– Grace. As a writer, she has collaborated with both The Private Theatre and Tiny Mythic Theatre, Sumaira Zamurrad Biology creating original works. SLC, 2013– BS, Stony Brook University. PhD, Albert Einstein College of Medicine. Thesis work involved generating Charles Zerner Barbara B. and Bertram J. Cohn a Drosophila model to study intellectual disability Professorship in Environmental caused by a histone demethylase known as KDM5. A Studies—Environmental Studies (on leave paper published in Cell Reports reported the findings. spring semester) In addition to bench research, Zamurrad has a vested BA, Clark University. MArch, University of Oregon. JD, interest in teaching and mentoring. She plans to Northeastern University. Special interests in continue postdoctoral research in neuroscience and environmental ethnography; political ecology; genetics at Columbia University. SLC, 2018- environmental justice, law, language, and culture; and environmental security and public policy. Ethnographic fieldwork with Mandar fishing Abby Zbikowski Dance communities of Sulawesi, Indonesia, and reef management in Indonesia’s Maluku Islands; former Francine Zerfas Theatre program director, the Rainforest Alliance. BFA, New York University, Tisch School of the Arts. Contributor and editor, People, Plants, and Justice: MFA, New School University. Teacher of voice and The Politics of Nature Conservation and Culture and speech at New York University’s Playwrights the Question of Rights: Forests, Coasts, and Seas in Horizons Theater School and Atlantic Theater Acting Southeast Asia. Co-editor of Representing School; adjunct professor at Brooklyn College. Communities: Politics and Histories of Community- Conducted Fitzmaurice Voicework™ and Shakespeare Based Natural Resource Management and, with Banu FACULTY 227

Subramaniam and Elizabeth Hartmann, of Making Association of Performing Arts Professional’s Threats: Biofears and Environmental Anxieties Leadership Fellows Program and recently completed (AltaMira Press, 2005). Residencies at University of a consultancy with Jacob’s Pillow Dance Festival, California–Irvine, Humanities Research Institute, and advising on the presentation of African Woodrow Wilson International Center for Scholars. contemporary work. She has organized and led Grants include Fulbright-Hays fellowship for symposia/conferences, served on review panels for fieldwork in Indonesia, National Endowment for the state and regional arts organizations and Dance USA, Humanities, and Social Science Research Council. been a presenter at Creative Capital retreats, and SLC, 2000– conceived and led the publication of Building Enduring Partnerships: A Report to the Field, The Cathy Zimmerman Dance Africa Contemporary Arts Consortium (2011). SLC, An independent producer, curator, and creative 2018– consultant, Zimmerman has a profound belief in artists as change agents and in the critical role that Carol Zoref Director, The Writing Center—Writing arts and imagination play in creating just and BA, MFA, Sarah Lawrence College. Fiction writer and democratic societies. With this core value at the essayist. Recipient of fellowships and grants from forefront, she has worked for more than 25 years Virginia Center for Creative Arts, Hall Farm Center for with US and international performing artists and Arts, and In Our Own Write. Winner of I.O.W.W. arts organizations in capacities that include Emerging Artist Award and finalist orf the Henfield producing, curating, project development and Award, American Fiction Award, and Pushcart Prize. management, artist representation, public relations, Winner of 2015 A.W.P. (Associated Writing Programs) and fundraising. She was executive producer at Novel Award for Barren Island (New Issues Press, MAPP International Productions (1998-2016), a University Western Michigan). SLC, 1996– producer of major performing-arts projects that raise critical consciousness and spark social change, Elke Zuern Politics working with some of the major contemporary AB, Colgate University. MA, MPhil, PhD, Columbia artists of our time, to bring their works and ideas to University. Research interests include social communities around the world. She received the movements in new democracies, popular responses 2018 Fan Taylor Distinguished Service Award for her to poverty and inequality, violence in leadership at MAPP. Prior to MAPP, Zimmerman was democratization processes, reparations, collective producing director for Bebe Miller Company memory, memorials and reconciliation. Regional (1998-2000), artistic director of Soho Booking specialization: sub-Saharan Africa, with extensive (1991-1995), and dance curator for Central Park fieldwork in South Africa and Namibia. Author of The SummerStage. She performed professionally for 20 Politics of Necessity: Community Organizing and years with companies including Meredith Monk/The Democracy in South Africa (University of Wisconsin House, Ping Chong, Marta Renzi, and Yoshiko Chuma Press, 2011). Recipient of a Mellon postdoctoral School of Hard Knocks. She taught dance and fellowship at Amherst College and a Lowenstein choreography at Long Island University and NYU’s fellowship. Former Van Zyl Slabbert Chair at the Experimental Theatre Wing. She is a founding University of Cape Town and Visiting Scholar at the member and general manager of The Africa University of Johannesburg. Articles published Contemporary Arts Consortium, a landmark program in Democratization, Comparative Politics, African founded in 2004 that initiates, develops, and Affairs, Journal of Modern African Studies, Politique sustains a dynamic exchange of arts and ideas Africaine, Transformation, and African Studies among artists, arts organization, and public Review, among others. For more information: communities throughout the United States and http://slc.academia.edu/ElkeZuern. SLC, 2002– Africa. She is a group leader and mentor for the