DOCSLIB.ORG

Djones CV Winter 2015

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Djones CV Winter 2015 JONES CV 1 DOUGLAS A. JONES, JR. Department of English, Rutgers University Murray Hall, 510 George St., New Brunswick, NJ 08901 [email protected] EMPLOYMENT Rutgers University, New Brunswick, Fall 2013–present Assistant Professor, Department of English Bread Loaf School of English, 2013–present Faculty Princeton University, 2011-2013 Cotsen Fellow, Princeton Society of Fellows Lecturer, Department of English and the Council of the Humanities EDUCATION Stanford University, 2007-2011 Ph.D. in Drama and Humanities Wendell Cole Prize for Distinguished Dissertation New York University, Tisch School of the Arts, 2003 B.F.A. with Honors, Theatre Honors Certificate in Theatre Studies BOOKS The Captive Stage: Performance and the Proslavery Imagination of the Antebellum North. University of Michigan Press, 2014. Co-editor with Harry J. Elam, Jr., The Methuen Drama Book of Post-Black Plays. Methuen Drama and Bloomsbury, 2012. PEER-REVIEWED ARTICLES “Douglass’ Impersonal.” Forthcoming in ESQ: A Journal of the American Renaissance 61.1 (Winter 2015). “Black Politics but not Black People: Re-thinking the Social and ‘Racial’ History of Early Minstrelsy.” TDR: The Drama Review 57.2 (Summer 2013): 21-37. “Aesthetics, Ideology, and the Use of the Victim in Early American Melodrama.” Journal of American Drama and Theatre 22.1 (Winter 2010): 51-81. JONES CV 2 Co-authored with Michelle Granshaw, “A View from the Middle: Teaching Nineteenth-Century African American Theatre and Performance.” Theatre Topics 19.1 (March 2009): 103-108. REVIEW ESSAY “Early Black American Writing and the Making of a Literature.” Early American Literature 49.2 (Summer 2014): 553-569. BOOK CHAPTERS AND OTHER PUBLICATIONS “Wilson’s Realisms: Person, Place, and the Ordinary in August Wilson’s Gem of the Ocean.” Forthcoming in Approaches to Teaching the Plays of August Wilson, eds. Sandra L. Richards and Sandra Shannon. MLA, 2015. (peer-reviewed) “Slavery’s Performance-Texts.” Forthcoming in Cambridge Companion to Slavery and American Literature, ed. Ezra Tawil. Cambridge University Press, 2015. “Moving Scenes.” Forthcoming in Pocket Instructor: Literature, eds. Diana Fuss and William Gleason. Princeton University Press, 2015. (peer-reviewed) “Slavery, Performance, and the Design of African American Theatre.” In Cambridge Companion to African American Theatre, ed. Harvey Young. Cambridge University Press, 2013. REVIEWS Review of Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity by Monica L. Miller (Duke, 2009). TDR: The Drama Review 57.1 (Spring 2013): 185-186. Review of Troubling Vision: Performance, Visuality, and Blackness by Nicole R. Fleetwood (Chicago, 2010). TDR: The Drama Review 56.4 (Winter 2012): 186-188. Review of Racial Innocence: Performing Childhood from Slavery to Civil Rights by Robin Bernstein (NYU, 2010). Journal of Dramatic Theory and Criticism 27.1 (Fall 2012): 143-146. Review of The Amalgamation Waltz: Race, Performance, and the Ruses of Memory by Tavia Nyong’o (Minnesota, 2009). Theatre Journal 60.3 (March 2011): 136-138. WORK IN PROGRESS “‘Like Waves to the Ocean’: Frederick Douglass and the Practice of Democratic Individuality.” (preliminary title). Book project “The Fruit of Abolition: Discontinuity and Difference in Terrance Hayes’ ‘The Avocado.’” In Do You Want to Be Well?: The Psychic Hold of Slavery, eds. Soyica Colbert, Aida Levy-Hussen, and Robert Patterson. Full-book manuscript under review JONES CV 3 “Infelicity as Democracy: Performativity, Virtù, and the Voice.” In progress INVITED LECTURES Title TBD. American Literature and Drama Colloquia, Harvard University, February 2015. Title TBD. Columbia University Seminar in American Studies, Columbia University, February 2015. “Retrospection as Innovation.” Symposium participant of "Cut/Throat Creativity: Structuring the New," Brown University, 2014. “Slavery Romances: Staging Race and Nation in Sarah Pogson’s The Young Carolinians (1818).” Avery Research Center, College of Charleston, November 2014. “The Fruit of Abolition: Irreparability, Incommensurability, and the Poetic.” Georgetown University, March 2014. TEACHING Rutgers University, New Brunswick Literature of Black New York from Slavery to the Great Migration (Spring 2015) Introduction to Performance Theory (Spring 2015) Staging America from the Revolution to the Civil War (Fall 2014) Slavery and American Culture (seminar, Fall 2014) Black Literature from the Colonial Period to 1910 (Spring 2014) Douglass and Emerson (graduate seminar, Spring 2014) American Drama (Fall 2013) Uncle Tom and Anti-Toms (seminar, Fall 2013) Princeton University Cotemporary African American Literature?: Identity Inquiry, Instability (Spring 2013) Frederick Douglass and the Long Nineteenth Century (Fall 2012) Staging America from the Revolution to the Civil War (Fall 2011) FELLOWSHIPS HONORS AND AWARDS Cotsen Postdoctoral Fellowship in the Study of Race and Ethnicity, Princeton Society of Fellows, Princeton University. 2011-2013. Post-Doctoral Fellowship, Center for African American Studies, Princeton University. 2011. (declined) Wendell Cole Memorial Prize for Distinguished Dissertation, Stanford University. 2011. JONES CV 4 Diversifying Academy, Recruiting Excellence (DARE) Fellow, Stanford University. 2009-2011. Teaching and Mentor Award for Service to Undergraduate Life, Stanford University. 2010. Hume Fellowship in the Arts, Stanford University. 2009-2010. Winner, Best Debut Paper, American Theatre in Higher Education (BTA). 2007. CONFERENCE PRESENTATIONS “Frederick Douglass: Performance Theorist/Political Theorist.” Association for Theatre in Higher Education, Scottsdale, Arizona, July 2014. “Frederick Douglass’ Soul Politics.” C19: The Society of Nineteenth-Century Americanists, Chapel Hill, North Carolina, March 2014. “Frederick Douglass and the ‘Claims’ of Democratic Individuality.” Invited Paper for the Division on Nineteenth-Century American Literature of the Modern Language Association, Chicago, Illinois, January 2014. “Histories Large x Small” (Working Group). American Society for Theatre Research, Dallas, Texas, November 2013. “(Black) American Play: Re-Visiting Eric Lott’s Love and Theft 20 Years Later” (Convened Panel). Association for Theater in Higher Education, Orlando, Florida, August 2013. “‘Ephemeral Caskets’: Antebellum Black Life and the Performativity of Newspapers.” American Society for Theatre Research, Nashville, Tennessee, November 2012. “On the Post-Black.” Association for Theatre in Higher Education, Washington, D.C., August 2012. “Race, Rights, and the Neo-Neoclassical Imagination.” American Society for Theatre Research, Montreal, Canada, November 2011. “Disruption, Inefficiency, and (Walking On) Black Time.” American Studies Association, Baltimore, Maryland, October 2011. “Slave Performance and the Beginning of African American Protestantism.” Association for Theatre in Higher Education, Chicago, Illinois, August 2011. “Early Minstrelsy and Working Class Politics: Introducing Actual Blackness.” American Society for Theatre Research, Seattle, Washington, November 2010. JONES CV 5 “Black-Print, Black-Face: John Brown's Textual Minstrelsy and the Problem of Writing Race.” Association for Theatre in Higher Education, Los Angeles, CA, August 2010. “The Problem of Ethnicity, The Solution of Race: ‘Common Sense’ and the Power of Public Thinking.” Public Art, Public Acts: An Interdisciplinary Conference on Ethnic Studies at Harvard University, Cambridge, MA, March 2010. “Theatre and the Tension of Theory: W.E. B. Du Bois, Modernity, and the Location of Race.” American Society for Theatre Research, San Juan, Puerto Rico, November 2009. “Aesthetics and Ideology in Early American Melodrama.” Association for Theatre in Higher Education, New York, NY, November 2009. “‘I Wonder ef dis is me?’ Pragmatism and The Tragic in William Wells Brown’s The Escape.” American Society Theatre Research, Phoenix, AZ, November, 2007. “The Perils of Post-Black.” Association for Theatre in Higher Education. New Orleans, LA, August 2007. OTHER ACADEMIC ACTIVITIES AND SERVICE Rutgers English Department Committees: Undergraduate Curriculum Committee (2013–present); Department Executive Committee (2014–present); Graduate Placement Committee (2014–present) Founding Steering Committee Member, Nineteenth-Century Workshop, Rutgers University Resident Faculty Fellow, Wilson College, Princeton University, 2011–2013. Ad hoc Reviewer, University of Pittsburgh Press, Criticism, Theatre Survey PROFESSIONAL MEMBERSHIPS American Society for Theatre Research American Studies Association American Theatre in Higher Education C19: The Society of Nineteenth-Century Americanists Modern Language Association RESEARCH AND TEACHING INTERESTS Early National and Antebellum Literary and Cultural History 18th, 19th, and early 20th-century African American Literature 19th-century American Political Theory Performance Theory and Dramatic Literature The Literary and Cultural Imaginations of Slavery JONES CV 6 REFERENCES Harry J. Elam, Jr., Olive H. Professor in the Humanities Department of Theatre and Performance Studies, Stanford University [email protected] 650.725.3964 Susan Stewart, Avalon Foundation University Professor Department of English, Princeton University [email protected] 609.258.8229 Peggy Phelan, Ann O’Day Maples Professor in the Arts and Professor of English Departments of English and Theatre and Performance Studies, Stanford University [email protected] 650.725.7017 James T. Campbell, Edgar E. Robinson Professor in U.S. History Department of History, Stanford University [email protected] 650.723.2651 Harvey Young, Associate Professor of Theatre and Performance Studies Department of Theatre and Drama, Northwestern University [email protected] 847.491.3262 Michele Elam, Martin Luther King, Jr. Centennial Professor Department of English, Stanford University [email protected] 650.723-0043 .
Load more

Recommended publications
  • Journals 2016 Catalog Directors’ Letter
    MIT Press Journals 2016 catalog Directors’ Letter Dear Friends, The MIT Press celebrated its 50th anniversary in 2012, and the inclination to ponder our distinguished history remains strong, perhaps even more so this year with the change in Press leadership—Amy Brand was named Director of the MIT Press in July of 2015. The Press’s journals division, which was founded in 1972, ten years after the books division, also has a significant publishing legacy to consider, with over 80 journals published since the division’s inception. Some, such as Linguistic Inquiry and The Journal of Interdisciplinary History, have grown with us from the very beginning. Other core titles like International Security, October, The Review of Economics and Statistics and Journal of Cognitive Neuroscience joined the Press over the following decades, providing a solid base for the high-quality and innovative scholarship that our journals division is well known for. Today, we continue to push the boundaries of scholarly publishing and communication. We relish discovering new fields to publish in, and working with scholars who are establishing new domains of research and inquiry. In keeping with that spirit, the Press is proud to launch a new open access journal in 2016, Computational Psychiatry, to serve a burgeoning field that brings together experts in neuroscience, decision sciences, psychiatry, and computation modeling to apply new quantitative techniques to our understanding of psychiatric disorders. Developing new ways of delivering journal articles and providing a richer range of metrics around their usage and impact is another current effort. On our mitpressjournals.org site, the Press is providing Altmetric badges for select titles to give an improved sense of the breadth of a journal article’s reach.
    [Show full text]
  • PAIGE A. MCGINLEY Washington University in St. Louis Campus Box
    PAIGE A. MCGINLEY Washington University in St. Louis Campus Box 1108 1 Brookings Drive St. Louis, MO 63130 [email protected] 401-595-7853 ACADEMIC POSITIONS Washington University in St. Louis Associate Professor, Performing Arts. 2017-present. Assistant Professor, Performing Arts. 2013-2017. Affiliate Faculty, American Culture Studies. 2013-present. Yale University Assistant Professor, American Studies, Theater Studies, and African American Studies. 2008- 2013. Princeton University Postdoctoral Lecturer, Princeton Writing Program. 2007-2008. ADMINISTRATIVE POSITIONS Washington University in St. Louis Director of Graduate Studies, Theatre and Performance Studies. 2018-present. Yale University Director of Undergraduate Studies, Theater Studies. 2012-2013. EDUCATION Brown University Ph.D., Theatre and Performance Studies, 2008. Cornell University M.A., Theatre Studies, 2002. Trinity College (CT) B.A. with Honors, Theatre and Dance, 1999. Phi Beta Kappa PUBLICATIONS Books 1 Staging the Blues: From Tent Shows to Tourism (Durham: Duke University Press, 2014) Errol Hill Award, American Society for Theatre Research John W. Frick Award, American Theatre and Drama Society Honorable Mention, Barnard Hewitt Award, American Society for Theatre Research Finalist, George Freedley Memorial Award, Theatre Library Association Reviewed in African American Review, American Studies, Arkansas Review, Callaloo, Journal of American Ethnic History, The Journal of American History, Journal of Popular Music Studies, The Journal of Southern History, Library Journal, Modern Drama, Studies in Theatre and Performance, TDR: The Drama Review, Theatre Journal, Theatre Research International, Theatre Survey, Women and Performance. Rehearsing Civil Rights: Practicing the Law, 1932-1968 (in progress) Articles and Book Chapters “‘Experimenting with a New Technique:’ Performance and Rehearsal in the Civil Rights Movement.” Theatre Journal (accepted for publication; forthcoming).
    [Show full text]
  • LEON J. HILTON CURRICULUM VITAE Department of Theatre Arts & Performance Studies · Brown University Lyman Hall 010 · 83 Waterman St
    Updated: March 2021 LEON J. HILTON CURRICULUM VITAE Department of Theatre Arts & Performance Studies · Brown University Lyman Hall 010 · 83 Waterman St. Box 1897 · Providence, RI 02912 cell: (847) 644-8819 · office: (401) 863-6952 · fax: (401) 863-7529 [email protected] ACADEMIC APPOINTMENTS 2017-present Brown University · Providence, RI Assistant Professor of Theatre Arts and Performance Studies Affiliations: Gender and Sexuality Studies Program; Science and Technology Studies Program 2016-2017. University of Pennsylvania · Philadelphia, PA Andrew W. Mellon Postdoctoral Fellow in the Humanities, Penn Humanities Forum Affiliations: Department of English; Cinema Studies Program EDUCATION 2010-2016. New York University · New York, NY Ph.D. (with Distinction), Department of Performance Studies Dissertation: “Minding Otherwise: Autism, Performance, and the Politics of Neurological Difference” Committee: José Esteban Muñoz & Tavia Nyong’o (chairs), Faye Ginsburg, André Lepecki, Heather K. Love, Karen Shimakawa 2009-2010. New York University · New York, NY M.A., Department of Performance Studies 2003-2007. Wesleyan University · Middletown, CT B.A. (with High Hons.), College of Letters PUBLICATIONS BOOK MANUSCRIPT Feral Performatives. University of Minnesota Press (Under Contract: publication expected 2022). PEER-REVIEWED JOURNAL ARTICLES 2020. “The Real End of a Nightmare: Amateurism, Feminism, and the Politics of Therapy in Jane Arden’s 1970s.” Third Text, special issue on “Amateurism and the Arts,” edited by Julia Bryan-Wilson and Benjamin D. Piekut. Vol. 33, Issue 5. 2018. “The Bright Shapes Were Going: Disability, Neurodivergence, and Theatrical Form in Elevator Repair Service’s The Sound and the Fury.” The Journal of Literary and Cultural Disability Studies, “Drama, Theatrical Performance, and Disability,” edited by Carrie Sandahl and Ann Fox.
    [Show full text]
  • Tdr, the Drama Review: a Script for the “Gestation” of Performance Studies
    57 CARMELA CUTUGNO TDR, THE DRAMA REVIEW: A SCRIPT FOR THE “GESTATION” OF PERFORMANCE STUDIES TDR, The Drama Review, is the first and most important Performance Studies journal. It has existed for more than half a decade, it testifies to the birth of this field of research and its following main developments. By going through the history of the journal, this short overview shows how TDR is engaged in a genuine mutual osmosis between what appears on its pages and what is happening in the world of performance practice, studies, and research. Performance Studies is an area of research that has expanded so much that I cannot (and in fact I would not even) exercise a form of control over it. There are departments, or, anyway, courses in Performance Studies everywhere, and everyone is free to write what feels more right and to draw his or her own line within this field of research. I have my own tool through which I choose and I spread my Performance Studies and that tool is TDR, the major Performance Studies journal. Reading TDR means to be continually updated on further developments that occur within this discipline. By reading the various issues of TDR, from the beginning to the present day, it is possible to reconstruct the story of what happened inside the PS27. During a conversation in Canterbury, while working on Imagining O, his last performance created during his visiting professorship at the University of Kent, Richard Schechner used these words to explain me the way TDR has always been the review that offers up evidence of the state of the art in the field of Performance Studies, at least in the NYU tradition28.
    [Show full text]
  • Art & Archaeology Newsletter
    d e p a r t m e n t o f Art Archaeology & Newsletter s p r i n g 1 Dear Friends and Colleagues: The past year has had its moments faculty. Next year we will welcome two young Inside scholars, specialists in 19th-century European of tension, mainly about the depart- and Byzantine/medieval art. ment’s financial situation in a period Danny Ćurčić’s magnificent exhibition faculty news “Architecture as Icon” at the Princeton Univer- of an economic baisse. sity Art Museum has become a major magnet Some painful decisions had to be made— 1 for visitors. Drawing on objects from eight graduate student news from staff reduction to cuts in research funds countries, the show offers fascinating examples for faculty—with the goal of preserving fund- of symbolic representations of architecture in ing in vital areas of undergraduate teaching and the context of Byzantine ritual and pilgrimage. 15 graduate student support. Thanks to the careful This successful exhibition is just one result of undergraduate news planning of my predecessor Hal Foster and our the close alliance between the department and department manager Susan Lehre, we emerged the museum. Since the arrival of James Steward from the crisis relatively unscathed. as the museum’s new director last fall, the The transformation of the department department and museum have intensified their seminar study trips over the last few years continues with the collaboration in both teaching and exhibi- retirement of three of our esteemed tions, and James will teach a course on colleagues—Pat Brown, Willy Childs, 18th-century British painting next year.
    [Show full text]
  • Eva Yaa Asantewaa, the Village Voice
    “…radiant, mythic beasts, glamorous and terrifying…” - Eva Yaa Asantewaa, The Village Voice MISSION a canary torsi’s work examines the moment of encounter between public bodies: performer and audience. We investigate issues that are at the foundation of performance: what brings us together, the nature of the space we inhabit, and how every aspect of our convergence is loaded with cultural, social, historical and personal choices that inform who we are, how we form meaning and how power is structured. The indeterminate performative systems we develop often utilize technology as a catalyst of spontaneous structures, patterns, and instructions that charge the work with anticipation and unpredictability. Ranging from immersive dance environments to responsive video installations and online archives, a canary torsi explores the relationship between spectator and event, developing scenarios where the audience’s actions dramatically impact the experienced outcome of the work. CAST (2017) at The Chocolate Factory Theater ©Maria Baranova Since its founding in 2009, a canary torsi has developed over nine works—seven live performances and two interactive video installations, one comprising a text-based computer game. Many of these projects incorporate the building of “archives” as foundations to the work: data in the form of conversations, images, and video utilized as malleable source material for the projects. This material is often built with audiences and with the project’s team of artists. More than repositories, the archives become portraits of the project and are constantly excavated for material through technology and score-based systems. In these scenarios, we utilize technology to intentionally create situations beyond the director’s control, that the performers inevitably grapple with, and that the spectator must situtate themselves in.
    [Show full text]
  • 1. SPENCER GOLUB Professor of Theatre Arts and Performance Studies; of Comparative Literature; and of Slavic Studies
    1. SPENCER GOLUB Professor of Theatre Arts and Performance Studies; of Comparative Literature; and of Slavic Studies 3. Education University of Kansas, Ph.D., Theatre, 10/77. Dissertation: "The Monodrama of Nikolaj Evreinov" Intensive Russian Language Program, Middlebury College, Middlebury, VT, 6/74- 8/74. Syracuse University, M.A., Theatre, 6/72 Union College (Schenectady, NY), B.A., Cum Laude with Honors in History, 6/70 4. Professional Appointments PROFESSOR OF THEATRE ARTS AND PERFORMANCE STUDIES; OF COMPARATIVE LITERATURE; AND OF SLAVIC LANGUAGES, Brown University Appointed member of the graduate faculty of Letters and Arts, Lucian Blaga University of Sibiu, Romania (2015-). DIRECTOR OF GRADUATE PROGRAM IN THEATRE AND PERFORMANCE STUDIES, 2007-10, 2014, 2016-17. CHAIR AND PROFESSOR OF THEATRE, SPEECH AND DANCE; OF COMPARATIVE LITERATURE; AND OF SLAVIC LANGUAGES, Brown University, 7/1/01 to 6/30/07. PROFESSOR of THEATRE, SPEECH AND DANCE AND COMPARATIVE LITERATURE, Brown University, 7/95 to the present. ASSOCIATE PROFESSOR (with tenure) OF THEATRE, SPEECH AND DANCE AND COMPARATIVE LITERATURE, Brown University, 10/89-7/95 ASSOCIATE PROFESSOR (with tenure), Brown University, 8/89-7/95 ASSISTANT PROFESSOR, Brown University, 7/87-8/89 ASSISTANT PROFESSOR, University of Virginia, 9/81-5/87. Resigned at rank of tenured Associate Professor, effective 9/1/87. ASSOCIATE ARTISTIC DIRECTOR, The New Works Project, New York City, 1980- 81. ADMINISTRATIVE ASSISTANT, The New Works Project, The Chelsea Theater Center, New York City, 1979-80. SCRIPT CONSULTANT, New York City, 1979-80. -The New York Shakespeare Festival (Public Theatre) -The Manhattan Theatre Club -The Chelsea Theater Center ARTIST-IN-RESIDENCE, University of Tulsa, 9/79-11/79.
    [Show full text]
  • Summer Research Symposium 2021 
    SUMMER RESEARCH SYMPOSIUM 2021 Presented by The College Virtual Symposium 11 am – 1 pm Thursday, August 5 Life Sciences and Humanities & Friday, August 6 Physical and Social Sciences 1 SUMMER RESEARCH SYMPOSIUM THURSDAY, AUGUST 5 LIFE SCIENCES AND HUMANITIES PRESENTATIONS 11:00 - 11:05 Welcome and remarks Oludurotimi Adetunji, Associate Dean of the College for Undergraduate Research and Inclusive Science 11:05 - 1:00 Research Poster Presentations FRIDAY, AUGUST 6 PHYSICAL SCIENCES AND SOCIAL SCIENCES P RESENTATIONS 11:00-11:05 Welcome and remarks Oludurotimi Adetunji, Associate Dean of the College for Undergraduate Research and Inclusive Science 11:05 - 1:00 Research Poster Presentations 2 SYMPOSIUM ORGANIZERS Oludurotimi Adetunji Associate Dean of the College for Undergraduate Research and Inclusive Science Linda Sutherland Co-Curricular Program Manager Vasudev Agarwal Symposium Intern Andrew Creamer Scientific Data Management Specialist Lauren Fish PhD Candidate in Neuroscience ACKNOWLEDGEMENTS Christina Paxson President Richard Locke Provost Rashid Zia Dean of the College Brown University Library 3 PRESERVING YOUR RESEARCH Students who opt to upload their posters to the Brown Digital Repository can do so using the self-deposit tool, available at https://repository.library.brown.edu/deposits/srs/ The deadline to upload posters is Monday, September 1st The collection would be available at https://brown.edu/go/srs 4 Room Layout ROOM A- HUMANITIES ROOM B - LIFE SCIENCES 5 Room Layout ROOM C - PHYSICAL SCIENCES ROOM D - SOCIAL SCIENCES
    [Show full text]
  • CONSER Cataloging Manual, Update 3 (2006)
    CCM Update 3, 2006 This update includes changes made to correct minor typographic and spacing errors, as well as to update web addresses, bibliographic references, and organization name changes, etc. New examples were added to several sections as proposed by catalogers. Wording in notes, field, subfield tagging and indicator values were reviewed and updated in some existing examples to reflect changes in practices. Of more significant note is the addition of CONSER's new practice of providing multiple linking fields and limiting the use of 580; the recent implementation of code "i" records; and LC series change. Module/ Replace Section Page Addition/Change/Deletion pages 0.3. 10 Updated information on implementation of code "i" 9-12 records 1 Corrected page numbering All pages 1 3-4 Updated references 1.3.2. 11 Removed note to consider canceling LC monograph records before redoing a title as a serial 1.5.2. 15 Changed “lcweb” to “www” 2 1 Corrected spacing 1-2 2.2.2. 18 Added footnote re. LC Series Change 17-26 2.3.1.b 21 Updated information on implementation of code "i" records 3.2.3.b. 20 Changed “National Library of Canada” to “Library and 19-24 Archives Canada” in footnote 21 Added instruction/reminder to follow LCRI 1.0A3 in dealing with other types of title pages in different languages 4.2. 9 Updated 260 and 310 $a in second example 9-10 4.8.3. 34 Corrected a typo 33-34 1 5.2.2.a 8 Added footnote clarifying that LC serial catalogers will 7-12 still consult SARs when testing for conflict after June 1, 2006; and wording to clarify that when comparing the title proper against fields 4XX and 8XX, test against the established form of the series 5.3.3.
    [Show full text]
  • University of California Riverside
    UNIVERSITY OF CALIFORNIA RIVERSIDE Reproducible Dances: Reconstructing the “Ephemeral” With Funding From the National Endowment for the Arts’ “American Masterpieces: Dance” Program A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Critical Dance Studies by Asheley Burns Smith December 2014 Dissertation Committee: Dr. Anthea Kraut, Chairperson Dr. SanSan Kwan Dr. Marta Savigliano Copyright by Asheley Burns Smith 2014 The Dissertation of Asheley Burns Smith is approved: ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ Committee Chairperson University of California, Riverside Acknowledgements I could neither have finished this dissertation, nor my journey throughout the PhD program in Critical Dance Studies at University of California, Riverside, without the help and support of so many people. First and foremost, I would like to thank Anthea Kraut, my committee chairperson, for her generosity of time, critical and thoughtful feedback, and constant encouragement and championing of me. Anthea has been a sounding board since before I even began the PhD program—I distinctly remember sitting in the lobby of the Smithsonian Castle talking on the phone with her to discuss my options less than a week after my apartment building burned down. During the past two years, Anthea pushed me to further clarify my arguments, refine my writing, and grapple with complexity, things I certainly did not fully achieve in this dissertation, but to which I will forever aspire. I am so fortunate that my committee member SanSan Kwan taught me not only in the classroom, but also while I served as her teaching assistant for two quarters. When I think of Riverside, I often recall the conversations during our walks to and from University Village for class.
    [Show full text]
  • Doctoral Program Handbook92016
    7.7.17 Theatre Arts and Performance Studies Doctoral Program HANDBOOK This document supersedes previous TAPS Doctoral Student Handbooks. 1 7.7.17 Table of Contents: 1) Doctoral Program Introduction…………………………………………….….. Page 3 2) Graduate Admissions………………………………………………………....... Page 5 3) Financial Support……………...……………………………………………....... Page 6 4) Graduate Requirements……………………………………………………….... Page 6 5) Elective Courses……………..………..…………………………………..……. Page 7 6) Graduate Colloquia……………..………..…..…………………………..….......Page 8 7) Foreign Language Requirements……………..…………….………….……..... Page 8 8) Qualifying Assessment………..…..………..………………………….…..….... Page 9 9) Selecting a Committee…………..…..………………………………….….….... Page 9 10) Comprehensive Exams…………..…..……….……………………………….. Page 10 11) Dissertation……………...………..…..………..…………….………….…...... Page 10 12) Milestones …………………………………………………………………….. Page 10 13) Frequently Asked Questions Concerning Degree Completion……………..…. Page 11 14) Frequently Asked Questions Concerning TAPS in General …………......…… Page 14 This handbook is addressed to current and prospective PhD students, to be used as a planning guide and reference resource throughout a student’s academic career. Pertinent University web resources should be regarded as the primary references for degree requirements and options. It is intended to complement the Graduate School Handbook and students should consult the Graduate School Handbook on University-wide policies on matters such as funding, leaves of absence, etc. Inquiries regarding the MFA in Playwriting
    [Show full text]
  • Brian Eugenio Herrera
    December 2020 BRIAN EUGENIO HERRERA Princeton University [email protected] W327 Wallace Dance Building & Theater 609-258-4837 (OFFICE) Program in Theater, Princeton University 609-258-2230 (FAX) Princeton, NJ 08544 http://scholar.princeton.edu/bherrera EDUCATION Ph.D., American Studies, Yale University, New Haven, Connecticut. M.A., American Studies, University of New Mexico, Albuquerque, New Mexico. B.A., American Civilization, Brown University, Providence, Rhode Island. ACADEMIC APPOINTMENTS 2018- Associate Professor of Theater in the Lewis Center for the Arts and in the Program in Gender & Sexuality Studies, Princeton University, Princeton, New Jersey. Associated faculty in Latino Studies; American Studies; Music Theater. 2012-18 Assistant Professor of Theater, Lewis Center for the Arts, Princeton University, Princeton, New Jersey. 2007-12 Assistant Professor, Department of Theatre and Dance, University of New Mexico, Albuquerque, New Mexico. 2005-07 Temporary Part-Time Instructor, University of New Mexico, Albuquerque, New Mexico. Appointments in Department of Theatre and Dance (2005-2007); Department of English Language & Literatures (2005). 2004-05 Temporary Part-Time Instructor, Southwest Indian Polytechnic Institute, Albuquerque, New Mexico. Appointment in Liberal Arts (Humanities Program). 2003 Visiting Lecturer, Department of Theatre, Speech and Dance, Brown University, Providence, Rhode Island. AWARDS, FELLOWSHIPS & GRANTS 2016 Honorable Mention, John W. Frick Book Award, given by the American Theatre and Drama Society, for Latin Numbers: Playing Latino in Twentieth Century U.S. Popular Performance. 2015 George Jean Nathan Award for Dramatic Criticism for Latin Numbers: Playing Latino in Twentieth Century U.S. Popular Performance. 2014-15 Donald D. Harrington Faculty Fellow, University of Texas at Austin, Department of Theatre and Dance.
    [Show full text]