WGSS Spring 14 Course Offerings
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Science Fiction in Argentina: Technologies of the Text in A
Revised Pages Science Fiction in Argentina Revised Pages DIGITALCULTUREBOOKS, an imprint of the University of Michigan Press, is dedicated to publishing work in new media studies and the emerging field of digital humanities. Revised Pages Science Fiction in Argentina Technologies of the Text in a Material Multiverse Joanna Page University of Michigan Press Ann Arbor Revised Pages Copyright © 2016 by Joanna Page Some rights reserved This work is licensed under the Creative Commons Attribution- Noncommercial- No Derivative Works 3.0 United States License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/3.0/ or send a letter to Creative Commons, 171 Second Street, Suite 300, San Francisco, California, 94105, USA. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2019 2018 2017 2016 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Names: Page, Joanna, 1974– author. Title: Science fiction in Argentina : technologies of the text in a material multiverse / Joanna Page. Description: Ann Arbor : University of Michigan Press, [2016] | Includes bibliographical references and index. Identifiers: LCCN 2015044531| ISBN 9780472073108 (hardback : acid- free paper) | ISBN 9780472053100 (paperback : acid- free paper) | ISBN 9780472121878 (e- book) Subjects: LCSH: Science fiction, Argentine— History and criticism. | Literature and technology— Argentina. | Fantasy fiction, Argentine— History and criticism. | BISAC: LITERARY CRITICISM / Science Fiction & Fantasy. | LITERARY CRITICISM / Caribbean & Latin American. Classification: LCC PQ7707.S34 P34 2016 | DDC 860.9/35882— dc23 LC record available at http://lccn.loc.gov/2015044531 http://dx.doi.org/10.3998/dcbooks.13607062.0001.001 Revised Pages To my brother, who came into this world to disrupt my neat ordering of it, a talent I now admire. -
El Extraño Mundo De Silvina Ocampo
El extraño mundo de Silvina Ocampo A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Languages and Literatures of the Collage of Arts and Sciences by María Rebeca Deibel M.A University of Northern Iowa November 2012 Comittee Chair: Enrique A. Giordano, Ph.D. Abstract This dissertation brings a new approach to Silvina Ocampo studies by using the theory of uncanny and fantastic fields. It has been a great contribution the theoretical foundations of psychoanalyst Sigmund Freud The Uncanny and Irène Bessière Le récit fantastique. The main book is titled Fantasy: The Literature of Subversion by Rosemary Jackson as it integrates the notions raised by Tzvetan Todorov and Irène Bessière. Jackson's contribution has allowed me to clarify the definition of the fantastic and the uncanny to the development of this dissertation. I think the term paraxial deserves special mention because it reaffirms the fantastic not categorically defined within the real or unreal, but rather is considered as an ambiguity. Some short stories of the writer show signs of ambiguity, a characteristic of the fantastic, but this does not classify all her works within this category. I do not intend to place it within a literary genre because it’s narrative is presented in influence of various literary forms. I proved, however, that it leans more toward the uncanny rather than other narrative categories. Silvina Ocampo is an Argentina writer who seduces readers with an approach contrary to convention. -
El Espacio Como Espejo Cultural. Reflexiones Ecocríticas En América Latina a Principios Del Nuevo Milenio
El Espacio Como Espejo Cultural. Reflexiones Ecocríticas en América Latina a Principios del Nuevo Milenio Item Type text; Electronic Dissertation Authors Woolson, Maria Alessandra Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 20:19:47 Link to Item http://hdl.handle.net/10150/333210 EL ESPACIO COMO ESPEJO CULTURAL. REFLEXIONES ECOCRÍTICAS EN AMÉRICA LATINA A PRINCIPIOS DEL NUEVO MILENIO by Maria Alessandra Woolson __________________________ Copyright © Maria Alessandra Woolson 2014 A Dissertation Submitted to the Faculty of the DEPARTMENT OF SPANISH & PORTUGUESE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY WITH A MAJOR IN SPANISH In the Graduate College THE UNIVERSITY OF ARIZONA 2014 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Maria Alessandra Woolson, titled “El espacio, un espejo cultural. Reflexiones ecocríticas en América latina a principios del nuevo milenio” and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy. _______________________________________________________________________ Date: August 1, 2014 Dr. Malcolm A. Compitello _______________________________________________________________________ Date: August 1, 2014 Dr. Laura Gutiérrez-Escarpita _______________________________________________________________________ Date: August 1, 2014 Dr. Abraham I. Acosta _______________________________________________________________________ Date: August 1, 2014 Dr. Carl J. Bauer Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. -
Course Catalog 2013-2014
CATALOGUE 2013-2014 1 2 Table of Contents The Evolution of an Educational Innovation 5 Political Studies 173 Learning at Simon’s Rock 6 Psychology 178 The Goals of the Academic Program 6 Social Sciences 181 Degree Requirements 7 Sociology 183 The Lower College Program 8 Courses in the Interdivisional Studies 185 Sophomore Planning: Moderation or Transfer 11 African American and African Studies 186 The Upper College Program 12 Asian Studies 187 Signature Programs 13 Communication 188 International 13 Environmental Studies/Ecology 189 Domestic 14 Gender Studies 190 In-House 15 Intercultural Studies 192 Special Study Opportunities 16 Learning Resources 193 Study at Bard’s Other Campuses 18 Off-Campus Program 194 Academic Policies 20 Young Writers Workshop 195 Upper College Concentrations 27 Faculty 196 Courses 82 Faculty 196 General Education Seminars 82 Adjunct Faculty 215 The Senior Thesis 83 Faculty Emeritus 218 Courses in the Division of the Arts 84 Community Music Program Faculty 222 Art History 85 Boards Arts 89 Board of Trustees 225 Dance 90 Board of Overseers 225 Music 94 Our Location 226 Studio Arts 100 Campus Map 227 Theater 106 Index 228 Courses in the Division of Languages & Literature 114 Academic Calendar 232 World Languages, Cultures, and Literatures 115 Linguistics 121 Literature and Creative Writing 122 Courses in the Division of Science, Mathematics, and Computing 137 Biology 138 Chemistry 142 Computer Science 144 Mathematics 146 Natural Sciences 149 Physics 151 Courses in the Division of Social Studies 154 Anthropology 155 Economics 158 Geography 161 History 165 Philosophy 168 3 Bard College at Simon’s Rock is the nation’s only four- year residential college specifically designed to provide bright, highly motivated students with the opportunity to begin college after the tenth or eleventh grade. -
Learning the Languages of Nostalgia in Modern and Contemporary Literature
Learning the Languages of Nostalgia in Modern and Contemporary Literature Tasha Marie Buttler A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2012 Reading Committee: Carolyn Allen, Chair Katherine Cummings Mark Patterson Program Authorized to Offer Degree: English University of Washington Abstract Learning the Languages of Nostalgia in Modern and Contemporary Literature Tasha M. Buttler Chair of Supervisory Committee: Professor Carolyn Allen Department of English This dissertation builds upon recent discourses on nostalgia that focus on the generative potential of a sustained melancholic stance and position the past as resource for the future. My particular interest is in the potential for de-subjectification out of regulatory regimes, as outlined in the work of Judith Butler, particularly in The Psychic Life of Power. This text has allowed me to develop a robust theory about accumulated experiences of love and loss that are central to the formation of “character” that repeats or disrupts patterns of social relation. I differentiate between politicized nostalgia and experiential nostalgia, suggesting that the latter can make use of inevitable experiences of loss by initiating and sustaining a melancholic agency. I use various literary texts and memoirs to identify how the thwarting of melancholia can lead to nostalgia’s obverse: the desire to return suffering, or what Czech author Milan Kundera calls litost. These instances of thwarted grieving are positioned against a set of characters in the work of Virginia Woolf, Eva Hoffman, and Clarice Lispector who allow themselves to honor their experiential nostalgia rather than reverting to politicized nostalgia that repeats representations and clichés associated with empire. -
Norah Borges and Silvina Ocampo Collaborate’, Romance Studies, 22:2 (2004), 149-63
Edinburgh Research Explorer Tales eran sus rostros Citation for published version: Mackintosh, F 2009, 'Tales eran sus rostros: Silvina Ocampo and Norah Borges', Romance Studies, vol. 27, no. 1, pp. 59-71. https://doi.org/10.1179/174581509X398028 Digital Object Identifier (DOI): 10.1179/174581509X398028 Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: Romance Studies Publisher Rights Statement: © Mackintosh, F. (2009). Tales eran sus rostros: Silvina Ocampo and Norah Borges. Romance Studies, 27(1), 59-71doi: 10.1179/174581509X398028 General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 05. Oct. 2021 ‘Tales eran sus rostros’: Silvina Ocampo and Norah Borges Fiona J. Mackintosh, University of Edinburgh Abbreviated title for running headings: ‘Tales eran sus rostros’ Address for correspondence and proofs: Dr Fiona J. Mackintosh Hispanic Studies (School of Literatures, Languages and Cultures) University of Edinburgh David Hume Tower, George Square Edinburgh. EH8 9JX 2 ‘Tales eran sus rostros’: Silvina Ocampo and Norah Borges Fiona J. Mackintosh, University of Edinburgh Abstract: This article explores the overlap in themes but divergence in aesthetic between the prose and poetry of Silvina Ocampo (1903-1993) and the art works of Norah Borges (1901-1998). -
Editors' Introduction
Editors’ introduction Maria-José Blanco and Sinéad Wall Little has been written on women diary writers and the diary form in Spain1 and Portugal,2 and nothing as far as we know on Latin America. Indeed, few diaries written by women were published before the second half of the twentieth century in either Spain or Portugal. Apart from the well-known sixteenth century confessions of Saint Teresa de Ávila (1515–82), addressed here by Kevin Smullin Brown’s article, another rare Spanish example is the diary-letter written by Gertrudis Gómez de Avellaneda (1814–73) to her former lover Ignacio Cepeda, which was published in 1907 by his wife after his death, Autobiografía y cartas (hasta ahora inéditas) de la ilustre poetisa Gertrudis Gómez de Avellaneda [Autobiography and Letters (Unedited Until Now) of the Illustrious Poet Gertrudis Gómez de Avellaneda].3 However, since the 1970s Spain and Portugal have seen the publication of an increasing number of women’s diaries, especially amongst women who are already established writers. As both countries were governed by dictatorships until 1975 and 1974 respectively, diaries were often written and/or published by writers in exile. Many of these were published in Spain in later years, for example Rosa Chacel Alcancía Ida (1982);4 María Zambrano, Delirio y destino: Los veinte años de una española (1989) [Delirium and Destiny: Twenty Years of a Spanish Woman]; Zenobia Camprubí, Diario (1991) [Diary]. Others were published abroad during their authors’ exile: Victoria Kent (1947) published in Argentina; Silvia Mistral (1940) published in Mexico; and Federica Montseny (1949) published in France. -
New Cultural Models in Women-S Fantasy Literature Sarah Jane Gamble Submitted for the Degree of Doctor of Philosophy University
NEW CULTURAL MODELS IN WOMEN-S FANTASY LITERATURE SARAH JANE GAMBLE SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF SHEFFIELD, DEPARTMENT OF ENGLISH LITERATURE OCTOBER 1991 NEW CULTURAL MODELS IN WOMEN'S FANTASY LITERATURE Sarah Jane Gamble This thesis examines the way in which modern women writers use non realistic literary forms in order to create new role models of and for women. The work of six authors are analysed in detail - Angela Carter, Doris Lessing, Margaret Atwood, Ursula Le Guin, Joanna Russ and Kate Wilhelm. I argue that they share a discontent with the conventions of classic realism, which they all regard as perpetuating ideologically-generated stereotypes of women. Accordingly, they move away from mimetic modes in order to formulate a discourse which will challenge conventional representations of the 'feminine', arriving at a new conception of the female subject. I argue that although these writers represent a range of feminist responses to the dominant order, they all arrive at a s1mil~r conviction that such an order is male-dominated. All exhibit an awareness of the work of feminist critics, creating texts which consciously interact with feminist theory. I then discuss how these authors use their art to examine the their own situation as women who write. All draw the attention to the existence of a tradition of female censorship, whereby the creative woman has experienced, in an intensified form, the repreSSion experienced by all women in a culture which privileges the male over the female. All these writers exhibit a desire to escape such a tradition, progressing towards the formulation of a utopian female subject who is free to be fully creative a project they represent metaphorically in the form of a quest. -
46Th Annual Convention
NORTHEAST MODERNM LANGUAGLE ASSOACIATION Northeast Modern Language Association 46th Annual Convention April 30 – May 3, 2015 TORONTO, ONTARIO Local Host: Ryerson University Administrative Sponsor: University at Buffalo www.buffalo.edu/nemla Northeast-Modern_language Association-NeMLA #NeMLA2015 CONVENTION STAFF Executive Director Marketing Coordinator Carine Mardorossian Derek McGrath University at Buffalo Stony Brook University, SUNY Associate Executive Director Local Liaisons Brandi So Alison Hedley Stony Brook University, SUNY Ryerson University Andrea Schofield Administrative Coordinator Ryerson University Renata Towne University at Buffalo Webmaster Jesse Miller Chair Coordinator University at Buffalo Kristin LeVeness SUNY Nassau Community College Fellows CV Clinic Assistant Fellowship and Awards Assistant Indigo Erikson Angela Wong Northern Virginia Community College SUNY Buffalo Chair and Media Assistant Professional Development Assistant Caroline Burke Erin Grogan Stony Brook University, SUNY SUNY Buffalo Convention Program Assistant Promotions Assistants W. Dustin Parrott Adam Drury SUNY Buffalo SUNY Buffalo Allison Siehnel Declan Gould SUNY Buffalo SUNY Buffalo Exhibitor Assistants Schedule Assistant Jesse Miller Iven Heister SUNY Buffalo SUNY Buffalo Brandi So Stony Brook University, SUNY Travel Awards Assistant Travis Matteson SUNY Buffalo 2 3 Board of Directors Welcome to Toronto and NeMLA’s much awaited return to Canada! This multicultural and President multilingual city is the perfect gathering place to offer our convention Daniela B. Antonucci | Princeton University attendees a vast and diversified selection of cultural attractions. While First Vice President in Toronto, enjoy a performance of W. Somerset Maugham’s Of Human Benjamin Railton | Fitchburg State University Bondage at the Soul Pepper Theatre, with tickets discounted thanks to Second Vice President the negotiations of NeMLA and our host, Ryerson University. -
Of Epicene Particles and Other Misleading Tricks Gender Ambiguity in Silvina Ocampo’S “Carta Perdida En Un Cajón”
Of Epicene Particles and Other Misleading Tricks Gender Ambiguity in Silvina Ocampo’s “Carta perdida en un cajón” María Julia Rossi Abstract “Carta perdida en un cajón” [Letter lost in a drawer] is a paradigmatic example of simul- taneous ambiguities at work in Silvina Ocampo’s fiction (1903–1993). In this short story published in 1959, pronouns and shifters, as well as endings that mark gender, cooperate to erase certainties and make the reader actively seek clues to understand the exchange the short story sets up. By scrutinizing its manuscript, I examine Ocampo’s writing and revi- sion strategies and elaborate on some of her creative processes in her search for ambiguity. Through five key compositional moves I have identified in her manuscripts, my essay focuses on how Ocampo revises and ramps up the writerly effect of gender ambiguity that allowed the construction of queer identities in her fiction. I argue that the insertion of epicene par- ticles and insults — which are less common in Spanish than gendered ones — , added at later stages of revision, demonstrate the intentional pursuit of a reading marked by confusion around the depiction of a non-normative desire. Genetic criticism allows us to reveal the painstaking process by which queer desire nudges its way into expression. Narratives that begin in medias res strike readers with a proliferation of unknown facts that need to be discovered. What is happening? Who is telling the story? What is it about? Why do things matter? Who are the characters? When is this happening? And where? All these questions catch the reader off-guard when the action has already begun before the narrative commencement and, thus, the reader’s arrival. -
Textual Exposures: Photography in Twentieth-Century Spanish American Narrative Fiction
University of Calgary PRISM: University of Calgary's Digital Repository University of Calgary Press University of Calgary Press Open Access Books 2015-04 Textual Exposures: Photography in Twentieth-Century Spanish American Narrative Fiction Russek, Dan University of Calgary Press Russek, D. "Textual Exposures: Photography in Twentieth-Century Spanish American Narrative Fiction". Latin American and Caribbean Series No. 11. University of Calgary Press, Calgary, Alberta, 2015. http://hdl.handle.net/1880/50410 book Downloaded from PRISM: https://prism.ucalgary.ca TEXTUAL EXPOSURES: PHOTOGRAPHY IN TWENTIETH-CENTURY SPANISH AMERICAN NARRATIVE FICTION By Dan Russek ISBN 978-1-55238-784-9 THIS BOOK IS AN OPEN ACCESS E-BOOK. It is an electronic version of a book that can be purchased in physical form through any bookseller or on-line retailer, or from our distributors. Please support this open access publication by requesting that your university purchase a print copy of this book, or by purchasing a copy yourself. If you have any questions, please contact us at [email protected] Cover Art: The artwork on the cover of this book is not open access and falls under traditional copyright provisions; it cannot be reproduced in any way without written permission of the artists and their agents. The cover can be displayed as a complete cover image for the purposes of publicizing this work, but the artwork cannot be extracted from the context of the cover of this specificwork without breaching the artist’s copyright. COPYRIGHT NOTICE: This open-access work is published under a Creative Commons licence. This means that you are free to copy, distribute, display or perform the work as long as you clearly attribute the work to its authors and publisher, that you do not use this work for any commercial gain in any form, and that you in no way alter, transform, or build on the work outside of its use in normal academic scholarship without our express permission. -
Feminist Moments: Reading Feminist Texts
"Notes." Feminist Moments: Reading Feminist Texts. Ed. Katherine Smits and Susan Bruce. : Bloomsbury Academic, 2016. 185–206. Bloomsbury Collections. Web. 2 Oct. 2021. <http:// dx.doi.org/10.5040/9781474237970.0006>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 2 October 2021, 15:36 UTC. Copyright © Susan Bruce, Katherine Smits and the Contributors 2016. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. Notes Introduction 1 E. Sylvia Pankhurst, The Suffragette: A History of the Women’s Militant Suffrage Movement, 1905–1910 (New York: Sturgis and Walton Company, 1911), 243–44 (https://archive.org/details/suffragettehisto00pankuoft). Page numbers to this edition will be given in parentheses throughout the text of this chapter. 2 A similar argument occurred in the United States over the relation between the women’s movement and demands for racial equality. 3 The phrase ‘second-wave feminism’ was first used in print by Marsha Lear in a 1968 article for The New Yorker. ‘First’ and ‘second’ wave denote organized movements rather than individual interventions; as this collection shows, many women spoke out prior to first-wave feminism. Recently, the term ‘third-wave’ (and even ‘fourth wave’) feminism has been used to describe post-1990s feminisms, which, for example, sometimes operate online and often have links with LGBT organizations. There is debate on whether the wave metaphor is useful and what precisely it implies or occludes. See Astrid Henry, Not My Mother’s Sister: Generational Conflict and Third Wave Feminism (Bloomington: Indiana University Press, 2004); and Charlotte Kroløkke and Anne Scott Sørensen, Gender Communication Theories and Analyses: From Silence to Performance (London: Sage Publications, 2006).