Graduate Program

Term Schedule

Fall 2018

Number	Title	Instructor	Time
AH 413 RACE & GENDER IN POP FILM WILLIS S MW 12:30 - 13:45
This course explores Hollywood's current fascination with race and gender as social issues and spectacles. In particular, we will focus on the ways that social difference have become the sites of increasingly conflicted narrative and visual interactions in our films. To examine competing representations of racial difference and sexual difference in contemporary US culture, we analyze popular films of the 1980s and 1990s, from thrillers to action films to comedies. BUILDING: MOREY \| ROOM: 504
AH 442 HISTORY OF PHOTOGRAPHY: 1839-1915 LEWIS J MW 10:25 - 11:40
The French author Roland Barthes described the emergence of photography in the early 19th century as a “truly unprecedented type of consciousness.” This class traces the emergence of this photographic consciousness in the 19th century as it develops within a number of specific arenas of culture & representation, from the medium’s conception in the early 19th century to its modernization in the early 20th century. The class will allow for general discussion of the history of photography with some detailed discussion of particular photographers, images, & texts. The class will look at photography as a cultural phenomenon as much as an art form, critically studying the various discursive arenas that this new medium helped to foster and redefine. We will also ask what makes photographic images so compelling, what we expect to see in them & what, distinguishes in the photographic realm a document from an artwork, & an ephemeral image from a material object. BUILDING: MOREY \| ROOM: 502
AH 453 FILM HISTORY: 1929-1959 WILLIS S MW 15:25 - 16:40
This course provides a transnational survey of film history, examining the technical and formal aspects of the medium in its production and exhibition. As we explore the development of cinema during this period, we will address a number of aesthetic and technological issues. For example, how did the development of sound technology affect film form? How did it affect cross-cultural cinematic exchange? What is the significance of genre across various film traditions? What did the studio system contribute to Hollywood's success in the international market? How did immigrant and exiled film personnel shape the industries they joined? Weekly screenings and film journals required. BUILDING: MOREY \| ROOM: 504
AH 462 IMPRESSIONISM & POST-IMPRESSIONISM LEWIS J MW 14:00 - 15:15
Covering artists from Edouard Manet to Vincent Van Gogh, and from Edgar Degas to Mary Cassatt, this course examines the work and social context of a constellation of artists whose practice in late-nineteenth-century Europe came to be known as Impressionist and Post-Impressionist. These artists’ representations of the city, the suburbs, leisure, labor, class and gender roles communicate a complex worldview in addition to a radical aesthetic. In developing general skills of analysis through the lectures, course readings, and museum visits, students should emerge from the course with a critical comprehension of the artists and their significant works, including the means to interpret the style, subject matter, and history of an emergent modernist art form. BUILDING: MOREY \| ROOM: 502
AH 524 ARCHITECTURE AND ENVIRONMENT CHRISTENSEN P T 16:50 - 19:30
This seminar will examine architecture as an ecology of natural resources and materials, human capital and as a system producing its own indelible carbon footprint. We will explore the notion of the “anthropocene” and how it is made manifest by, through, and in the built environment. This course will be focused primarily on the modern period (1800-present) but will engage earlier sources and examples dealing with naturalism, conservation, and habitat. The dominant narrative of the period is one of a heroic modernism in architecture, a narrative that often obscures modern architecture’s troubled legacy of environmental degradation and destruction. Through a series of advanced readings, we will examine a handful of specific locations to this end, including the solar house, the mine, the landfill, the scrapyard and several others. Authors include Siegfried Giedion, Rachel Carson, Benjamin Bratton. Course discussion will revolve around the readings and students will be expected to produce a final research paper. BUILDING: MOREY \| ROOM: 524 OFFERED: Fall
AH 598 FEMINISMS & HISTORIES OF ART SAAB J R 14:00 - 16:40
No description BUILDING: MOREY \| ROOM: 524
ANT 457 CHINESE SOCIETY AFTER MAO OSBURG J MW 15:25 - 16:40
This course adopts an anthropological approach towards understanding the dramatic socio-cultural transformations that have followed in the wake of China’s post-Mao economic reforms. What happens when a society officially committed to economic and gender equality witnesses the rise of stark social divisions? Beginning with an historical overview of the key features of the Maoist and post-Mao periods, we will move on to examine such issues as the creation of a market economy, the rise of new social classes, rural to urban migration, changing ideologies of gender and sexuality, new attitudes towards education and work, transformations in family life, religious revival and conversion, and the influences of global popular culture and mass consumption, with an eye towards identifying both continuities and departures from the Maoist era. Throughout our discussions we will consider the implications of these changes for China’s political, social, and economic futures. BUILDING: LATT \| ROOM: 210 OFFERED: Fall Spring
ANT 470 RADICAL SOCIAL THEORY GIBSON T TR 11:05 - 12:20
This course examines the arguments and the rhetoric of radical thinkers who have tried to change the world rather than just interpret it since the revolutions of 1848. BUILDING: LATT \| ROOM: 441 OFFERED: Spring
CLT 416A MEXICAN FILM RODRIGUEZ-HER MW 14:00 - 15:15
This course explores both historical antecedents and contemporary visions. It includes films by directors such as Spanish exile Luis Bunuel, Alejandro Gonzalez Inarritu, Jaime Humberto Hermosillo, Alfonso Cuaron, Carlos Reygadas, Raul Ruiz, Maria Novaro, and other box office favorites. From Robert Rodriguez's Bedhead, to Desperado, Once Upon a Time in Mexico and, of course, Y tu mama tambien, Entre Pancho Villa y una mujer desnuda, and La ley de Herodes we explore images of Mexican culture. Course taught in English but work may be written in Spanish for Spanish credit. BUILDING: LCHAS \| ROOM: 121
CLT 439 REPRESENTING AFRICAN-AMERICANS IN THE AFRICAN IMAGINATION KEMEDJIO C MW 12:30 - 13:45
The dialogue among Africans, African-Americans, and other peoples of African descent rest on their common experiences of oppression, liberation, and cultural exchanges, experiences that have turned the Atlantic from a line of division into a dynamic bridge. This course seeks to critically investigate the shared destinies of African peoples and peoples of the African descent throughout the world. Thus, while acknowledging the centrality of the African-American experience within the Black Diaspora, this course argues that this centrality requires a critical investigation of the representation of Black America in the cultural productions of Africans, Haitians, Caribbeans and Black Europe. The Reading list include Maryse Condé, Lorraine Hansberry, Alice Walker, Paule Marshall, and Ngugi was Thiongo. BUILDING: LATT \| ROOM: 441
CLT 448 ON THE MOVE HWANG J TR 14:00 - 15:15
This course will explore various concepts of mobility and encounters within ethnographic films and texts. Questions we will investigate include: How does one represent a culture? What notions of cultural and national identities are reinforced and challenged in these works? Who speaks for whom and what are the consequences? What kinds of power relationships are hidden or made visible in these films and texts? BUILDING: MOREY \| ROOM: 205
CLT 464B THE RISES AND FALLS OF MODERN JAPANESE LITERATURE BRIDGES W WF 10:25 - 11:40
This course explores major works of Japanese literature written from 1885 to the present. Central to our exploration will be the rises and falls (of authors, literary schools, regimes, tectonic plates, and, perhaps, literature itself) of Japanese literature. The focus of this survey is Japan's rich body of prose narratives. This focus is supplemented by investigations of genres and media such as poetry, film, theater, photography, advertisements, historical nonfiction, anime, and manga. This course is taught in English. BUILDING: MEL \| ROOM: 219
ENG 423 VICTORIAN LIT & SCIENCE – MW 11:50 - 13:05
The Victorian period was a time of great scientific discovery: new medical theories of the body and human consciousness, radical experiments in mesmerism and telepathy, changing ecological ideas of energy, as well as the rise of evolutionary biology, anthropology, and economics. In this course we will examine a wide range of writers from the Victorian period who responded to the emerging scientific theories of their day through their literary works (e.g., Thomas Hardy, Alfred Lord Tennyson, John Ruskin, Wilkie Collins, George Eliot, and others). We will discuss the many ways that these literary figures participated in the scientific debates of their time and investigate the relationship between literary experiment and scientific experiment. Fulfills the post-1800 requirement. No prerequisites. BUILDING: \| ROOM: OFFERED: Fall Spring
ENG 423 MADNESS, MARRIAGE, AND MONSTROSITY LONDON B MW 12:30 - 13:45
The nineteenth-century novel is usually associated with Victorian values: happy marriage; wholesome homes; moral propriety; properly channeled emotions and ambitions. Many of the most popular novels, however, paint a very different picture: with madwomen locked in attics and asylums; monsters, real and imagined, lurking behind the facade of propriety; genteel homes harboring opium addicts; fallen women walking the streets; and sexual transgression and degeneracy popping up everywhere. Indeed, for novels centrally structured around marriage and society, madness and monstrosity appear with alarming regularity. The intertwining of these tropes suggests some of the cultural anxieties unleashed by the new body of women writers and women readers. We will begin with Frankenstein and end with Dracula, two novels from opposite ends of the century. We will also consider such classic marriage plot novels as Pride and Prejudice and Jane Eyre and some popular sensation fiction of the 1860s. BUILDING: MOREY \| ROOM: 502
ENG 442 RACE AND RESISTENCE MICHAEL J MW 14:00 - 15:15
We will consider the emergence and consolidation of African American identities as acts of resistance to the dominant culture’s racist fantasies about and representations of black women and men. To do this, we will consider historical and contemporary examples of racist discourse, literature, and film and black counterstatements in discourse and art. Primary case studies will involve the struggles around slavery, Reconstruction and its aftermath, black women, and black intellectuals. Texts we discuss may include works by Hegel, Jefferson, David Walker, Douglass, D. W. Griffith’s, Chesnutt, Oscar Michaud, Du Bois, Washington, Jacobs, Faulkner, Hurston, Morrison, Spike Lee, Ta- Nehisi Coates, Cornel West, Hortense Spillers, Jared Sexton and others. BUILDING: GRGEN \| ROOM: 110
ENG 445 THE OUTSIDER IN LITERTURE TUCKER J MW 10:25 - 11:40
This course uses literature to analyze social behavior, specifically processes of inclusion and exclusion. How communities are constructed, around what signs and sets of practices, and the role that exclusion plays in defining a community are topics we will explore. What does it mean to belong? To be excluded? And just how stable are these categories? Literature from a variety of traditions, historical periods, and genres will provide examples, case histories, and a vocabulary with which such social phenomena can be discussed. Texts include Beowulf, John Gardner’s Grendel, Nathaniel Hawthorne’s The Scarlet Letter, Seamus Heaney’s The Cure at Troy, Amin Maalouf’s In the Name of Identity, Toni Morrison’s The Bluest Eye, Peter Shaffer’s Equus, Virginia Woolf’s A Room of One’s Own, Richard Wright’s Black Boy, and more. Course requirements include two essays, bi-weekly response papers, and class participation. BUILDING: LCHAS \| ROOM: 103
ENG 445 THE MODERN NOVELLA SCHOTTENFELD MW 12:30 - 13:45
More broadly, a study of the gray zone between short story and novel, containing many ambiguous labels (long short story, novella, short novel). The course will interrogate various boundaries -- When does a short story become a novella? When does a novella become a novel? -- and locate answers not merely in word count, but in reader experience and expectation. Because of the (relative) brevity of these in-between texts, the course will cover much stylistic and geographic ground. Author list may include: Franz Kafka, Philip Roth, Don DeLillo, Carson McCullers, Nathanael West, Gabriel García Márquez, Henry James, George Saunders, Ethan Canin, Aleksandar Hemon, William Gass, Flannery O'Connor, Cynthia Ozick, and Joseph Conrad. BUILDING: MEL \| ROOM: 206
ENG 505 Race Before Modernity HAHN T M 14:00 - 16:40
See English Department website for description BUILDING: MOREY \| ROOM: 403
ENG 543 STUDIES IN AMERICAN CULTURE TUCKER J W 14:00 - 16:40
No description BUILDING: MOREY \| ROOM: 403 OFFERED: Fall Spring
FR 444 CRIMES OF PASSION: LOVE AND DEATH ON THE CLASSICAL FRENCH STAGE ROSENSWEIG A TR 14:00 - 15:15
Love. Hate. Fear. Disgust. Seventeenth-century tragedies are filled with passion. In this class we will explore what happens when passion goes too far. What happens when lovers cannot contain themselves, or when kings are overcome with rage? How does the problem of excess passion raise questions about freedom and responsibility? In addition to examining how tragedies were performed during the seventeenth century, we will imagine how they might be performed today. We will also consider how concerns raised by seventeenth-century tragedy help us to navigate the political and social issues of our time. The class will be taught in French. BUILDING: DOUG \| ROOM: 403
FR 445 Revolution & Romanticism DORAN R TR 18:15 - 19:30
Victor Hugo said famously that Romanticism was “liberalism in literature.” Course will examine how literature and politics intertwine during an era of great social transformation (1789-1848). Starting with the period of the French Revolution, and continuing through the Empire, the Restoration, and the Bourgeois Monarchy, we will discuss the relation between theatrical representation and the political system, the emergence of a public space, and the relation between political and artistic freedom. Readings from Rousseau, Madame de Staël, Chénier, Hugo, Stendhal, Vigny, Musset. BUILDING: LATT \| ROOM: 401
HIS 437 George Orwell and the Twentieth Century WEAVER S M 14:00 - 16:40
This course will approach the tortured history of the 20th century by way of the life and writings of George Orwell. Best known for his late dystopian novels 1984 and Animal Farm, Orwell wrote many other memorable books and essays commenting on the signal events of his time. He experienced first hand (among other things): India, the British Empire, the Depression, the Spanish Civil War, the Second World War, post-war austerity and affluence, and the Cold War. And he wrote about them all with unrivaled clarity and force. Students will immerse themselves in Orwell’s life, work, and times and write a substantial research paper on a relevant topic of their own choice and design. BUILDING: RRLIB \| ROOM: 362
HIS 452 Racial Democracies: Mexico vs. Brazil BALL M R 14:00 - 16:40
Mexico and Brazil are countries with complex cultural, racial and ethnic histories. This seminar will explore the process by which these two countries grappled with their diverse populations during the modern era and how policies and attitudes impacted citizens, residents and perceptions. The course will investigate the limitations that arose from Mexico’s pursuit of a “cosmic race” and how the myth of Brazil’s “racial democracy” was created and debunked. We will debate the durability of these constructions and the limitations that arise from cross-country comparisons. BUILDING: RRLIB \| ROOM: 456
HIS 482 Apocalypse Now ...and Then: A History of Apocalyptic Thought SMOLLER L T 14:00 - 16:40
This seminar examines the history of beliefs about the end of the world in the western Judeo-Christian tradition. We will examine such topics as the birth of apocalyptic thought, the medieval development of various aspects of traditions about the End (such as the figure of Antichrist and millenarian traditions), millennial influences on the discovery and colonization of the New World, millennial movements of the last two centuries (such as the Millerites and the Mormons), and contemporary apocalyptic scenarios. A major theme of the course will be the flexibility of apocalyptic language, its ability to interpret various historical situations, and its power to move people to acceptance or action. BUILDING: RRLIB \| ROOM: 456
MHS 590 BAROQUE GENDER & SEXUALITY FREITAS R M 10:35 - 12:25
Baroque Gender and Sexuality: This course proceeds from two fundamental insights: attitudes about gender and sexuality differed radically in the 17th and early 18th centuries from what might be considered normative today, and such notions were fundamental to the production and consumption of much music in that period. In this course we will draw on a wealth of recent scholarship to explore a variety of topics, including the baroque construction of sex and gender, the experiences of female composers and performers, the lives of and rationalization for castrati, the values projected in opera, the domestic consumption of published music, and more. Monteverdi, Cavalli, Vivaldi, Handel, Bach: all are implicated in these unfamiliar conceptions (along with their lesser-known colleagues). BUILDING: NSL \| ROOM: 404 OFFERED: Fall Spring Summer
MHS 590 GERMAN LIED THYM J M 13:35 - 15:25
German Lied: The seminar sets out to explore text-music relations in German Lieder of the nineteenth century, more specifically relations between poetic and musical structure. Questions of how poetic structure influences musical settings, how the musical form realizes or contradicts the poetic structure, and how a text is interpreted through music will be central for seminar discussions. The goal of the course is to gain a deeper understanding of poetic forms and their musical settings in the nineteenth century as well as some familiarity with the most recent scholarly literature. Even though not exclusively focused on matters of performance practice, the seminar by its very nature will address issues of analysis and performance. BUILDING: NSL \| ROOM: 404 OFFERED: Fall Spring Summer
MHS 590 MUSIC, GENDER, & SUFFRAGE IN THE LONG 19TH CENTURY KAPUSTA J T 9:35 - 11:25
Music, Gender, & Suffrage in the Long 19th Century: How did women in the United States use music to achieve feminist political goals in the long 19th century? How can we present this neglected chapter in U.S. musical history to the concert-going public in ways that engage modern-day musical and political sensibilities? In this course, we will examine the history of music and the suffrage movement from the 1848 Seneca Falls Convention to the ratification of the Nineteenth Amendment in 1920. We will discuss seminal theories of music and gender, the history of women in 19th U.S. musical culture, and role of music-making in the struggle for women's rights. Working in teams, students will conduct original research to in order to develop a proposal for an innovative, multimedia concert program dedicated to music of the suffrage movement. Students will take advantage of local archives, and pending confirmation, may have the opportunity to collaborate with a leading Rochester performing arts institution. BUILDING: NSL \| ROOM: 404 OFFERED: Fall Spring Summer
MHS 590 MAKING NEW MUSIC NOW JAKELSKI L W 10:35 - 12:25
Making New Music Now: How is "new music" being made in the early twenty-first century? In this course, we will begin to map the ecosystems in which contemporary art music has been made since approximately 1990. We will examine these ecosystems from a variety of perspectives, including the vantage points of composers, performers, institutions, critics, administrators, and audiences. Although we will not attempt to perform a comprehensive survey of recent art music, we will explore a variety of compositions, both U.S. and international. We will also consider the roles that aesthetics, economics, politics, and technology play in shaping new music. And, as part of our work together in this course, we will develop strategies for researching, understanding, and writing about the recent past and present day. BUILDING: NSL \| ROOM: 404 OFFERED: Fall Spring Summer
MHS 590 DEBUSSY: ANALYSIS AND INTERPRETATION WATKINS H R 9:35 - 11:25
Debussy: Analysis and Interpretation: In this course, students will develop tools for the analysis and interpretation of Debussy’s music, drawing on both contemporary theoretical methodologies and historical studies of the stylistic and aesthetic aims of the French avant-garde circa 1900. Class assignments will consist mainly of readings devoted to the Parisian context of Debussy’s music and analytical assignment focusing on Debussy’s Préludes for piano, song sets, major orchestral works, and the opera Pelléas et Mélisande. A final seminar paper and presentation will be required. BUILDING: NSL \| ROOM: 404 OFFERED: Fall Spring Summer
MHS 590 RECORDING IN 20TH-CENTURY MUSIC MUELLER D W 15:35 - 17:25
Recording in 20th-Century Music: Technologies of reproduction fundamentally shaped music in the 20th century, especially in the United States. This course will explore this issue by examining four different technologies: the player piano, the radio, the long-playing record, and the MP3. We will situate these technologies in their historical moment and also consider the musical sounds they helped inspire. For example, we will not only investigate the development of the long-playing (LP) record but also turntablism in the 1990s—not only Duke Ellington’s first appearances on radio in the 1930s, but also John Cage’s 1956 composition, Radio Music—not only the musical commodification through the player piano but also composer Conlon Nancarrow’s experimental use of the device. Along with various scholarly readings, we will also listen to the music of Ellington, Nancarrow, Cage, Glenn Gould, Herbie Hancock, Steve Reich, Laurie Anderson, Grandmaster Flash, and Maria Chavez (among others). BUILDING: NSL \| ROOM: 404 OFFERED: Fall Spring Summer
MUY 591 MUSIC AND CULTURAL HYBRIDITY KAPUSTA J F 9:35 - 12:25
Music and Cultural Hybridity: All musical practices are to some extent cultural hybrids. To be sure, what we often call Western art music has never been exclusively Western, and certainly isn't today. What tools, then, do we have for understanding music as an intercultural practice? In this course, we will read recent work in musicology, ethnomusicology, anthropology, and cultural theory in order to understand the discourse, practice, and politics of music in multi- and intercultural contexts. We will discuss art music (from Mozart to Delibes and Steve Reich) as well as examples from the Black Atlantic, postcolonial India, postwar Japan, and more. At the end of the course, we will consider more self-conscious attempts at hybridizing music, from the Silk Road Project to the musical Hamilton. Throughout, we will aim to refine how we understand various forms of intercultural musical exchange, borrowing, fusion, and appropriation. BUILDING: NSL \| ROOM: 404 OFFERED: Fall
MUY 591 MUSIC IN MARIAN DEVOTION ANDERSON M W 12:35 - 15:25
Music in Marian Devotion: This course aims for students to become acquainted with the extensive repertory of late Middle Ages and Renaissance honoring the Virgin Mary, along with scholarship on Marian devotion from this period. It responds to the high status of the Virgin Mary in the devotional lives of late-medieval Christians. Believers sought the unparalleled intercession of Jesus’s mother in countless ways, including through prayer, visual culture, literature, and music. Our course will trace the pervasive phenomenon of Marian devotion in music from the eleventh to the sixteenth century, beginning with a chant review. We will acquire the repertory through the lens of musicological scholarship of the past two decades. Students will be introduced to Mariology and music through a variety of perspectives, including festal commemorations, sources, institutions, and patronage. A significant part of the course will explore the convergence of sacred and secular topoi in musical expressions to the Virgin. BUILDING: NSL \| ROOM: 404 OFFERED: Fall

Number	Title	Instructor	Time
Monday
ENG 505 Race Before Modernity HAHN T M 14:00 - 16:40
See English Department website for description BUILDING: MOREY \| ROOM: 403
HIS 437 George Orwell and the Twentieth Century WEAVER S M 14:00 - 16:40
This course will approach the tortured history of the 20th century by way of the life and writings of George Orwell. Best known for his late dystopian novels 1984 and Animal Farm, Orwell wrote many other memorable books and essays commenting on the signal events of his time. He experienced first hand (among other things): India, the British Empire, the Depression, the Spanish Civil War, the Second World War, post-war austerity and affluence, and the Cold War. And he wrote about them all with unrivaled clarity and force. Students will immerse themselves in Orwell’s life, work, and times and write a substantial research paper on a relevant topic of their own choice and design. BUILDING: RRLIB \| ROOM: 362
MHS 590 BAROQUE GENDER & SEXUALITY FREITAS R M 10:35 - 12:25
Baroque Gender and Sexuality: This course proceeds from two fundamental insights: attitudes about gender and sexuality differed radically in the 17th and early 18th centuries from what might be considered normative today, and such notions were fundamental to the production and consumption of much music in that period. In this course we will draw on a wealth of recent scholarship to explore a variety of topics, including the baroque construction of sex and gender, the experiences of female composers and performers, the lives of and rationalization for castrati, the values projected in opera, the domestic consumption of published music, and more. Monteverdi, Cavalli, Vivaldi, Handel, Bach: all are implicated in these unfamiliar conceptions (along with their lesser-known colleagues). BUILDING: NSL \| ROOM: 404 OFFERED: Fall Spring Summer
MHS 590 GERMAN LIED THYM J M 13:35 - 15:25
German Lied: The seminar sets out to explore text-music relations in German Lieder of the nineteenth century, more specifically relations between poetic and musical structure. Questions of how poetic structure influences musical settings, how the musical form realizes or contradicts the poetic structure, and how a text is interpreted through music will be central for seminar discussions. The goal of the course is to gain a deeper understanding of poetic forms and their musical settings in the nineteenth century as well as some familiarity with the most recent scholarly literature. Even though not exclusively focused on matters of performance practice, the seminar by its very nature will address issues of analysis and performance. BUILDING: NSL \| ROOM: 404 OFFERED: Fall Spring Summer
Monday and Wednesday
AH 413 RACE & GENDER IN POP FILM WILLIS S MW 12:30 - 13:45
This course explores Hollywood's current fascination with race and gender as social issues and spectacles. In particular, we will focus on the ways that social difference have become the sites of increasingly conflicted narrative and visual interactions in our films. To examine competing representations of racial difference and sexual difference in contemporary US culture, we analyze popular films of the 1980s and 1990s, from thrillers to action films to comedies. BUILDING: MOREY \| ROOM: 504
AH 442 HISTORY OF PHOTOGRAPHY: 1839-1915 LEWIS J MW 10:25 - 11:40
The French author Roland Barthes described the emergence of photography in the early 19th century as a “truly unprecedented type of consciousness.” This class traces the emergence of this photographic consciousness in the 19th century as it develops within a number of specific arenas of culture & representation, from the medium’s conception in the early 19th century to its modernization in the early 20th century. The class will allow for general discussion of the history of photography with some detailed discussion of particular photographers, images, & texts. The class will look at photography as a cultural phenomenon as much as an art form, critically studying the various discursive arenas that this new medium helped to foster and redefine. We will also ask what makes photographic images so compelling, what we expect to see in them & what, distinguishes in the photographic realm a document from an artwork, & an ephemeral image from a material object. BUILDING: MOREY \| ROOM: 502
AH 453 FILM HISTORY: 1929-1959 WILLIS S MW 15:25 - 16:40
This course provides a transnational survey of film history, examining the technical and formal aspects of the medium in its production and exhibition. As we explore the development of cinema during this period, we will address a number of aesthetic and technological issues. For example, how did the development of sound technology affect film form? How did it affect cross-cultural cinematic exchange? What is the significance of genre across various film traditions? What did the studio system contribute to Hollywood's success in the international market? How did immigrant and exiled film personnel shape the industries they joined? Weekly screenings and film journals required. BUILDING: MOREY \| ROOM: 504
AH 462 IMPRESSIONISM & POST-IMPRESSIONISM LEWIS J MW 14:00 - 15:15
Covering artists from Edouard Manet to Vincent Van Gogh, and from Edgar Degas to Mary Cassatt, this course examines the work and social context of a constellation of artists whose practice in late-nineteenth-century Europe came to be known as Impressionist and Post-Impressionist. These artists’ representations of the city, the suburbs, leisure, labor, class and gender roles communicate a complex worldview in addition to a radical aesthetic. In developing general skills of analysis through the lectures, course readings, and museum visits, students should emerge from the course with a critical comprehension of the artists and their significant works, including the means to interpret the style, subject matter, and history of an emergent modernist art form. BUILDING: MOREY \| ROOM: 502
ANT 457 CHINESE SOCIETY AFTER MAO OSBURG J MW 15:25 - 16:40
This course adopts an anthropological approach towards understanding the dramatic socio-cultural transformations that have followed in the wake of China’s post-Mao economic reforms. What happens when a society officially committed to economic and gender equality witnesses the rise of stark social divisions? Beginning with an historical overview of the key features of the Maoist and post-Mao periods, we will move on to examine such issues as the creation of a market economy, the rise of new social classes, rural to urban migration, changing ideologies of gender and sexuality, new attitudes towards education and work, transformations in family life, religious revival and conversion, and the influences of global popular culture and mass consumption, with an eye towards identifying both continuities and departures from the Maoist era. Throughout our discussions we will consider the implications of these changes for China’s political, social, and economic futures. BUILDING: LATT \| ROOM: 210 OFFERED: Fall Spring
CLT 416A MEXICAN FILM RODRIGUEZ-HER MW 14:00 - 15:15
This course explores both historical antecedents and contemporary visions. It includes films by directors such as Spanish exile Luis Bunuel, Alejandro Gonzalez Inarritu, Jaime Humberto Hermosillo, Alfonso Cuaron, Carlos Reygadas, Raul Ruiz, Maria Novaro, and other box office favorites. From Robert Rodriguez's Bedhead, to Desperado, Once Upon a Time in Mexico and, of course, Y tu mama tambien, Entre Pancho Villa y una mujer desnuda, and La ley de Herodes we explore images of Mexican culture. Course taught in English but work may be written in Spanish for Spanish credit. BUILDING: LCHAS \| ROOM: 121
CLT 439 REPRESENTING AFRICAN-AMERICANS IN THE AFRICAN IMAGINATION KEMEDJIO C MW 12:30 - 13:45
The dialogue among Africans, African-Americans, and other peoples of African descent rest on their common experiences of oppression, liberation, and cultural exchanges, experiences that have turned the Atlantic from a line of division into a dynamic bridge. This course seeks to critically investigate the shared destinies of African peoples and peoples of the African descent throughout the world. Thus, while acknowledging the centrality of the African-American experience within the Black Diaspora, this course argues that this centrality requires a critical investigation of the representation of Black America in the cultural productions of Africans, Haitians, Caribbeans and Black Europe. The Reading list include Maryse Condé, Lorraine Hansberry, Alice Walker, Paule Marshall, and Ngugi was Thiongo. BUILDING: LATT \| ROOM: 441
ENG 423 VICTORIAN LIT & SCIENCE – MW 11:50 - 13:05
The Victorian period was a time of great scientific discovery: new medical theories of the body and human consciousness, radical experiments in mesmerism and telepathy, changing ecological ideas of energy, as well as the rise of evolutionary biology, anthropology, and economics. In this course we will examine a wide range of writers from the Victorian period who responded to the emerging scientific theories of their day through their literary works (e.g., Thomas Hardy, Alfred Lord Tennyson, John Ruskin, Wilkie Collins, George Eliot, and others). We will discuss the many ways that these literary figures participated in the scientific debates of their time and investigate the relationship between literary experiment and scientific experiment. Fulfills the post-1800 requirement. No prerequisites. BUILDING: \| ROOM: OFFERED: Fall Spring
ENG 423 MADNESS, MARRIAGE, AND MONSTROSITY LONDON B MW 12:30 - 13:45
The nineteenth-century novel is usually associated with Victorian values: happy marriage; wholesome homes; moral propriety; properly channeled emotions and ambitions. Many of the most popular novels, however, paint a very different picture: with madwomen locked in attics and asylums; monsters, real and imagined, lurking behind the facade of propriety; genteel homes harboring opium addicts; fallen women walking the streets; and sexual transgression and degeneracy popping up everywhere. Indeed, for novels centrally structured around marriage and society, madness and monstrosity appear with alarming regularity. The intertwining of these tropes suggests some of the cultural anxieties unleashed by the new body of women writers and women readers. We will begin with Frankenstein and end with Dracula, two novels from opposite ends of the century. We will also consider such classic marriage plot novels as Pride and Prejudice and Jane Eyre and some popular sensation fiction of the 1860s. BUILDING: MOREY \| ROOM: 502
ENG 442 RACE AND RESISTENCE MICHAEL J MW 14:00 - 15:15
We will consider the emergence and consolidation of African American identities as acts of resistance to the dominant culture’s racist fantasies about and representations of black women and men. To do this, we will consider historical and contemporary examples of racist discourse, literature, and film and black counterstatements in discourse and art. Primary case studies will involve the struggles around slavery, Reconstruction and its aftermath, black women, and black intellectuals. Texts we discuss may include works by Hegel, Jefferson, David Walker, Douglass, D. W. Griffith’s, Chesnutt, Oscar Michaud, Du Bois, Washington, Jacobs, Faulkner, Hurston, Morrison, Spike Lee, Ta- Nehisi Coates, Cornel West, Hortense Spillers, Jared Sexton and others. BUILDING: GRGEN \| ROOM: 110
ENG 445 THE OUTSIDER IN LITERTURE TUCKER J MW 10:25 - 11:40
This course uses literature to analyze social behavior, specifically processes of inclusion and exclusion. How communities are constructed, around what signs and sets of practices, and the role that exclusion plays in defining a community are topics we will explore. What does it mean to belong? To be excluded? And just how stable are these categories? Literature from a variety of traditions, historical periods, and genres will provide examples, case histories, and a vocabulary with which such social phenomena can be discussed. Texts include Beowulf, John Gardner’s Grendel, Nathaniel Hawthorne’s The Scarlet Letter, Seamus Heaney’s The Cure at Troy, Amin Maalouf’s In the Name of Identity, Toni Morrison’s The Bluest Eye, Peter Shaffer’s Equus, Virginia Woolf’s A Room of One’s Own, Richard Wright’s Black Boy, and more. Course requirements include two essays, bi-weekly response papers, and class participation. BUILDING: LCHAS \| ROOM: 103
ENG 445 THE MODERN NOVELLA SCHOTTENFELD MW 12:30 - 13:45
More broadly, a study of the gray zone between short story and novel, containing many ambiguous labels (long short story, novella, short novel). The course will interrogate various boundaries -- When does a short story become a novella? When does a novella become a novel? -- and locate answers not merely in word count, but in reader experience and expectation. Because of the (relative) brevity of these in-between texts, the course will cover much stylistic and geographic ground. Author list may include: Franz Kafka, Philip Roth, Don DeLillo, Carson McCullers, Nathanael West, Gabriel García Márquez, Henry James, George Saunders, Ethan Canin, Aleksandar Hemon, William Gass, Flannery O'Connor, Cynthia Ozick, and Joseph Conrad. BUILDING: MEL \| ROOM: 206
Tuesday
AH 524 ARCHITECTURE AND ENVIRONMENT CHRISTENSEN P T 16:50 - 19:30
This seminar will examine architecture as an ecology of natural resources and materials, human capital and as a system producing its own indelible carbon footprint. We will explore the notion of the “anthropocene” and how it is made manifest by, through, and in the built environment. This course will be focused primarily on the modern period (1800-present) but will engage earlier sources and examples dealing with naturalism, conservation, and habitat. The dominant narrative of the period is one of a heroic modernism in architecture, a narrative that often obscures modern architecture’s troubled legacy of environmental degradation and destruction. Through a series of advanced readings, we will examine a handful of specific locations to this end, including the solar house, the mine, the landfill, the scrapyard and several others. Authors include Siegfried Giedion, Rachel Carson, Benjamin Bratton. Course discussion will revolve around the readings and students will be expected to produce a final research paper. BUILDING: MOREY \| ROOM: 524 OFFERED: Fall
HIS 482 Apocalypse Now ...and Then: A History of Apocalyptic Thought SMOLLER L T 14:00 - 16:40
This seminar examines the history of beliefs about the end of the world in the western Judeo-Christian tradition. We will examine such topics as the birth of apocalyptic thought, the medieval development of various aspects of traditions about the End (such as the figure of Antichrist and millenarian traditions), millennial influences on the discovery and colonization of the New World, millennial movements of the last two centuries (such as the Millerites and the Mormons), and contemporary apocalyptic scenarios. A major theme of the course will be the flexibility of apocalyptic language, its ability to interpret various historical situations, and its power to move people to acceptance or action. BUILDING: RRLIB \| ROOM: 456
MHS 590 MUSIC, GENDER, & SUFFRAGE IN THE LONG 19TH CENTURY KAPUSTA J T 9:35 - 11:25
Music, Gender, & Suffrage in the Long 19th Century: How did women in the United States use music to achieve feminist political goals in the long 19th century? How can we present this neglected chapter in U.S. musical history to the concert-going public in ways that engage modern-day musical and political sensibilities? In this course, we will examine the history of music and the suffrage movement from the 1848 Seneca Falls Convention to the ratification of the Nineteenth Amendment in 1920. We will discuss seminal theories of music and gender, the history of women in 19th U.S. musical culture, and role of music-making in the struggle for women's rights. Working in teams, students will conduct original research to in order to develop a proposal for an innovative, multimedia concert program dedicated to music of the suffrage movement. Students will take advantage of local archives, and pending confirmation, may have the opportunity to collaborate with a leading Rochester performing arts institution. BUILDING: NSL \| ROOM: 404 OFFERED: Fall Spring Summer
Tuesday and Thursday
ANT 470 RADICAL SOCIAL THEORY GIBSON T TR 11:05 - 12:20
This course examines the arguments and the rhetoric of radical thinkers who have tried to change the world rather than just interpret it since the revolutions of 1848. BUILDING: LATT \| ROOM: 441 OFFERED: Spring
CLT 448 ON THE MOVE HWANG J TR 14:00 - 15:15
This course will explore various concepts of mobility and encounters within ethnographic films and texts. Questions we will investigate include: How does one represent a culture? What notions of cultural and national identities are reinforced and challenged in these works? Who speaks for whom and what are the consequences? What kinds of power relationships are hidden or made visible in these films and texts? BUILDING: MOREY \| ROOM: 205
FR 444 CRIMES OF PASSION: LOVE AND DEATH ON THE CLASSICAL FRENCH STAGE ROSENSWEIG A TR 14:00 - 15:15
Love. Hate. Fear. Disgust. Seventeenth-century tragedies are filled with passion. In this class we will explore what happens when passion goes too far. What happens when lovers cannot contain themselves, or when kings are overcome with rage? How does the problem of excess passion raise questions about freedom and responsibility? In addition to examining how tragedies were performed during the seventeenth century, we will imagine how they might be performed today. We will also consider how concerns raised by seventeenth-century tragedy help us to navigate the political and social issues of our time. The class will be taught in French. BUILDING: DOUG \| ROOM: 403
FR 445 Revolution & Romanticism DORAN R TR 18:15 - 19:30
Victor Hugo said famously that Romanticism was “liberalism in literature.” Course will examine how literature and politics intertwine during an era of great social transformation (1789-1848). Starting with the period of the French Revolution, and continuing through the Empire, the Restoration, and the Bourgeois Monarchy, we will discuss the relation between theatrical representation and the political system, the emergence of a public space, and the relation between political and artistic freedom. Readings from Rousseau, Madame de Staël, Chénier, Hugo, Stendhal, Vigny, Musset. BUILDING: LATT \| ROOM: 401
Wednesday
ENG 543 STUDIES IN AMERICAN CULTURE TUCKER J W 14:00 - 16:40
No description BUILDING: MOREY \| ROOM: 403 OFFERED: Fall Spring
MHS 590 MAKING NEW MUSIC NOW JAKELSKI L W 10:35 - 12:25
Making New Music Now: How is "new music" being made in the early twenty-first century? In this course, we will begin to map the ecosystems in which contemporary art music has been made since approximately 1990. We will examine these ecosystems from a variety of perspectives, including the vantage points of composers, performers, institutions, critics, administrators, and audiences. Although we will not attempt to perform a comprehensive survey of recent art music, we will explore a variety of compositions, both U.S. and international. We will also consider the roles that aesthetics, economics, politics, and technology play in shaping new music. And, as part of our work together in this course, we will develop strategies for researching, understanding, and writing about the recent past and present day. BUILDING: NSL \| ROOM: 404 OFFERED: Fall Spring Summer
MHS 590 RECORDING IN 20TH-CENTURY MUSIC MUELLER D W 15:35 - 17:25
Recording in 20th-Century Music: Technologies of reproduction fundamentally shaped music in the 20th century, especially in the United States. This course will explore this issue by examining four different technologies: the player piano, the radio, the long-playing record, and the MP3. We will situate these technologies in their historical moment and also consider the musical sounds they helped inspire. For example, we will not only investigate the development of the long-playing (LP) record but also turntablism in the 1990s—not only Duke Ellington’s first appearances on radio in the 1930s, but also John Cage’s 1956 composition, Radio Music—not only the musical commodification through the player piano but also composer Conlon Nancarrow’s experimental use of the device. Along with various scholarly readings, we will also listen to the music of Ellington, Nancarrow, Cage, Glenn Gould, Herbie Hancock, Steve Reich, Laurie Anderson, Grandmaster Flash, and Maria Chavez (among others). BUILDING: NSL \| ROOM: 404 OFFERED: Fall Spring Summer
MUY 591 MUSIC IN MARIAN DEVOTION ANDERSON M W 12:35 - 15:25
Music in Marian Devotion: This course aims for students to become acquainted with the extensive repertory of late Middle Ages and Renaissance honoring the Virgin Mary, along with scholarship on Marian devotion from this period. It responds to the high status of the Virgin Mary in the devotional lives of late-medieval Christians. Believers sought the unparalleled intercession of Jesus’s mother in countless ways, including through prayer, visual culture, literature, and music. Our course will trace the pervasive phenomenon of Marian devotion in music from the eleventh to the sixteenth century, beginning with a chant review. We will acquire the repertory through the lens of musicological scholarship of the past two decades. Students will be introduced to Mariology and music through a variety of perspectives, including festal commemorations, sources, institutions, and patronage. A significant part of the course will explore the convergence of sacred and secular topoi in musical expressions to the Virgin. BUILDING: NSL \| ROOM: 404 OFFERED: Fall
Wednesday and Friday
CLT 464B THE RISES AND FALLS OF MODERN JAPANESE LITERATURE BRIDGES W WF 10:25 - 11:40
This course explores major works of Japanese literature written from 1885 to the present. Central to our exploration will be the rises and falls (of authors, literary schools, regimes, tectonic plates, and, perhaps, literature itself) of Japanese literature. The focus of this survey is Japan's rich body of prose narratives. This focus is supplemented by investigations of genres and media such as poetry, film, theater, photography, advertisements, historical nonfiction, anime, and manga. This course is taught in English. BUILDING: MEL \| ROOM: 219
Thursday
AH 598 FEMINISMS & HISTORIES OF ART SAAB J R 14:00 - 16:40
No description BUILDING: MOREY \| ROOM: 524
HIS 452 Racial Democracies: Mexico vs. Brazil BALL M R 14:00 - 16:40
Mexico and Brazil are countries with complex cultural, racial and ethnic histories. This seminar will explore the process by which these two countries grappled with their diverse populations during the modern era and how policies and attitudes impacted citizens, residents and perceptions. The course will investigate the limitations that arose from Mexico’s pursuit of a “cosmic race” and how the myth of Brazil’s “racial democracy” was created and debunked. We will debate the durability of these constructions and the limitations that arise from cross-country comparisons. BUILDING: RRLIB \| ROOM: 456
MHS 590 DEBUSSY: ANALYSIS AND INTERPRETATION WATKINS H R 9:35 - 11:25
Debussy: Analysis and Interpretation: In this course, students will develop tools for the analysis and interpretation of Debussy’s music, drawing on both contemporary theoretical methodologies and historical studies of the stylistic and aesthetic aims of the French avant-garde circa 1900. Class assignments will consist mainly of readings devoted to the Parisian context of Debussy’s music and analytical assignment focusing on Debussy’s Préludes for piano, song sets, major orchestral works, and the opera Pelléas et Mélisande. A final seminar paper and presentation will be required. BUILDING: NSL \| ROOM: 404 OFFERED: Fall Spring Summer
Friday
MUY 591 MUSIC AND CULTURAL HYBRIDITY KAPUSTA J F 9:35 - 12:25
Music and Cultural Hybridity: All musical practices are to some extent cultural hybrids. To be sure, what we often call Western art music has never been exclusively Western, and certainly isn't today. What tools, then, do we have for understanding music as an intercultural practice? In this course, we will read recent work in musicology, ethnomusicology, anthropology, and cultural theory in order to understand the discourse, practice, and politics of music in multi- and intercultural contexts. We will discuss art music (from Mozart to Delibes and Steve Reich) as well as examples from the Black Atlantic, postcolonial India, postwar Japan, and more. At the end of the course, we will consider more self-conscious attempts at hybridizing music, from the Silk Road Project to the musical Hamilton. Throughout, we will aim to refine how we understand various forms of intercultural musical exchange, borrowing, fusion, and appropriation. BUILDING: NSL \| ROOM: 404 OFFERED: Fall