| Monday |
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ENG 549
LONGENBACH J
M
14:00 - 16:40
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At the center of this seminar will be a long, detailed reading of James Joyce's Ulysses, the most difficult and beautiful work of what we've come to call literary modernism. Leading up to our experience of Ulysses, we will read Joyce's A Portrait of the Artist as a Young Man (to introduce ourselves to the world of Joyce) and a selection of Yeats's poems (to introduce us to the world of Anglo-Irish culture); following our experience of Ulysses, we will read two works marked deeply by Joyce's influence: Woolf's Mrs. Dalloway and Eliot's The Waste Land.
BUILDING: MOREY | ROOM: 403
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HIS 421
GREENWOOD J
M
14:00 - 16:40
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Intended for both upper-division undergraduates and graduate students, this seminar will explore the intersection between the digital humanities and early modern historical studies through data-mining, the discovery of patterns in large databases. Students will analyze early modern European concepts using scholarship and large volumes of digitized primary sources in online databases. The result will allow students to research early modern concepts by way of aggregating data, effectively, combining traditional historiography with digital analysis. During the semester, enrollees will pursue a case study of their design in consultation with the instructor
BUILDING: RRLIB | ROOM: 362
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MHS 590
MUELLER D
M
10:35 - 12:25
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Music and Digital Culture: Digital technologies have enabled unprecedented access to musical cultures. Far-flung performances on YouTube are simply a click away. Esoteric facts are instantaneously accessible. Entire histories of music are searchable and streamable. How did we get here? And what does our current situation mean for the contemporary musician? In this seminar, we will survey the bumpy terrain of digital culture and listen widely: to professionals in concert; to amateurs on social media; to explanatory and “how to” videos; to historical recordings newly brought into circulation; to web-based, interactive sound installations. We will connect scholarly writing to journalism, blog posts, Wikipedia entries, and artist websites. As a result, “past” composers will come in contact with “new” media, “old” recordings with “new” methods for circulation, “classical” music with “popular” culture, and more!
BUILDING: NSL | ROOM: 404
OFFERED: Fall Spring Summer
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MHS 590
JAKELSKI L
M
13:35 - 15:25
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Music and Politics: How have musical works, compositional techniques, and performance practices contributed to the creation of national identities? In what ways has music been used to support political regimes, and how has it served as a vehicle for political protest? What roles has music played in periods of war and political upheaval, how has music been used to commemorate the past, and how do musicians interact in an increasingly global world? This course will probe the frequently messy intersections between music and politics in Europe and the United States from the mid-nineteenth century to the present day. Our primary tasks will be to listen critically to a broad repertoire, analyze primary source readings, and engage with recent writings on music history to establish an understanding of how music has influenced—and been influenced by—a variety of political contexts.
BUILDING: NSL | ROOM: 404
OFFERED: Fall Spring Summer
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| Monday and Wednesday |
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AH 442
LEWIS J
MW
10:25 - 11:40
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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
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AH 487
SEIBERLING G
MW
14:00 - 15:15
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This course looks at the phenomenon of the museum, asking questions about the relation of culture and institutions. How do museums and the selection of what things go into them and the way objects are arranged and displayed shape the way we think about our past, about art? Why are "natural history" and "history" and "art" displayed in different institutions? What are the implications of reproduction for the "original"? Do museums have a future?
BUILDING: MOREY | ROOM: 502
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AH 561
WILLIS S
MW
14:00 - 15:15
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This course examines the philosophical, aesthetic, and social issues that are central to classical film theory. It traces the historical development of film theory from 1900 to the 1950s. We will begin with on thinkers in the period of early cinema, including Germaine Dulac, Jean and Marie Epstein, and then we will examine the development of film theory in the work of later theorists, such as Jean Mitry, Sergei Eisenstein, Dziga Vertov, Siegfried Kracauer, Walter Benjamin, Andre Bazin and Christian Metz. Weekly screenings of historically contemporary films will allow us to examine the ongoing dialogue between the evolving medium and the developing theoretical discussion.
BUILDING: MOREY | ROOM: 504
PREREQUISITES: FMS 132 - Intro to Art of Film OR FMS 131 - Intro to Media Studies
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| Tuesday |
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AH 510
LEWIS J
T
9:40 - 12:20
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While the “selfie” phenomenon continues to thrive in global pop culture, what the term
signifies remains unclear. Behind such novelty and confusion is a larger generative force at work:
photography’s pervasive role in framing selfhood, subjectivity, and identity in the modern era.
Since its invention, the photographic image has framed and reframed the fluid concept of the self
through various artistic, social, technological, and conceptual practices. Engaging philosophy, art
history, and photography theory, this course examines how photography has been used to give shape
to various philosophies of the self, from the theory of autonomy put forward by philosophers of the
Enlightenment to that of identity mediated by social discourse as proposed by contemporary critical
theorists. Together, we will examine various episodes from the history of photography, from
explorations of Romantic subjectivity in the nineteenth century, to examinations of the “selfie” as
a form of public spectacle
in culture today.
BUILDING: MOREY | ROOM: 524
OFFERED: Fall
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AH 518
WILLIS S
T
14:00 - 16:40
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No description
BUILDING: MOREY | ROOM: 504
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AH 598
HEUER C
T
16:50 - 19:30
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The speed of recent ecological change has reframed many assumptions about the discourses and practices of “nature.” Where does this leave art history? This course will pose “ecology” as a potential method as well as a theme of art. Our subjects include literal convergences of art and earth (1970s earth art, Baroque garden design), rhetorical discourses of environmental interconnectedness or estrangement (Nathan Hare’s “Black Ecology”) performative landscape/body situations (plein air drawing, agricultural labor), and social ecologies (environmental racism, the social politics of resource extraction, legislative art, the ecosystem of the artworld). Above all, our seminar will rethink art and ecology in material-practical terms, looking (among elsewhere) the sciences, for alternatives to tropes of “landscape” and “place.”
BUILDING: MEL | ROOM: 206
OFFERED: Fall
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ANT 407
GIBSON T
T
15:25 - 18:05
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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: Fall
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ENG 455
ROSENOW J
T
18:15 - 22:00
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Intro to history, technology, cultural significance of motion pictures of the "pre-sound" era, screenings of 35mm prints accompanied by live music in the Dryden Theatre. Special attention to major pioneers, Dickson, Porter, Lumière, Méliès, and Griffith, including a variety of internationally produced films selected from the world-famous archival film collection of the George Eastman House. Same as FMS 247
BUILDING: GEM | ROOM: CURT
OFFERED: Fall
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ENG 550
MICHAEL J
T
14:00 - 16:40
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In this course we will consider the theoretical underpinnings and the history—philosophical and institutional—of critical studies in the humanities. Topics and readings will focus on the relationship of philosophy to criticism, of truth to art, of criticism to aesthetics and politics, of data to belief, and of the human to the natural sciences. Readings may include selections from Heidegger, Plato, Kant, Hegel, Derrida, Sedgwick, Butler, Spivak, Felski, Hayles, Moretti and others.
BUILDING: MOREY | ROOM: 403
OFFERED: Fall Spring
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MHS 590
ESSE M
T
13:35 - 15:25
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The Musician’s Body: This course combines a critical-historical survey of movement strategies for musicians with experiential practice. As we explore how bodily theories and techniques were integrated with music pedagogy from the late eighteenth century to the present, students will immerse themselves in different somatic practices through group and individual study. Along the way, we will touch on questions that have long occupied music pedagogues—what is the proper role for conscious awareness and control of the body in music-making, which Western culture alternately represents as the free outpouring of feeling and the result of rigorous discipline? How have both bodily knowledge and bodily practices been put to use in teaching musicians better ways to “use” their primary instruments—their selves? We will focus on both the emergence of scientific understandings of the performing body and perspectives that emphasized more “natural” forms of movement and performance.
BUILDING: OSL | ROOM: 101
OFFERED: Fall Spring Summer
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MHS 590
ROLF M
T
12:35 - 15:25
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Debussy and Symbolism: In many ways, Debussy’s unique compositional vocabulary emanated from his response to texts by Symbolists - poets such as Verlaine, Baudelaire, and Mallarmé. He was especially sensitive to issues of prosody and poetic structure, shunning a traditional approach to word painting. Students in this seminar will focus on poetic and musical analyses of representative songs, situating this repertoire in the context of contemporary aesthetics and culture. Weekly readings and class participation, a short lecture recital or class presentation, and a final term paper will be required. Singers and pianists in the class will receive weekly coaching. This seminar will be open to doctoral- and masters-level students. French proficiency, though advantageous for the student, is not required.
BUILDING: MC | ROOM: 1
OFFERED: Fall
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MUY 590
WATKINS H
T
13:35 - 16:25
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Introduction to Musicology: This course will provide an introduction to the scope, bibliography, and prominent methodologies of musicology. To that end, it will explore the history and development of the discipline, focusing especially on the current trends and their background: provide a practical introduction to the diverse sources of information in the field; and give experience employing solid research and writing strategies.
BUILDING: NSL | ROOM: 404
OFFERED: Fall
|
| Tuesday and Thursday |
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AH 585
BERLO J
TR
12:30 - 13:45
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Cultural critic Stuart Hall has observed “Heritage is a discursive practice. It is one of the ways in which the nation slowly constructs for itself a sort of collective social memory.” In this upper level seminar, we will look at case studies of how people (through the collectivities of gender, ethnicity, race, or nation) construct visual narratives about the past. Among the topics for consideration are Holocaust memorials, Native American and Polynesian museums and cultural centers, African American quilt histories, and even individual artists’ projects of the last few decades (Judy Chicago, Fred Wilson, Silvia Gruner, José Bedia, and Jolene Rickard, among others). Readings will be drawn principally from the disciplines of history, anthropology, cultural studies, and art criticism.
BUILDING: MOREY | ROOM: 502
PREREQUISITES: Juniors and Seniors in Art History, Anthropology and History, as well as graduate students, will have preference in registering for this course. Familiarity with the language and theoretical concerns of cultural studies or anthropology would be helpful.
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ANT 426
FOSTER R
TR
14:00 - 15:15
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This course explores anthropological approaches to the study of mass consumption and material culture. Specific topics for investigation will include: possessions and personhood; the history of modern consumerism in the West; and the globalization of markets. The course will address these and other topics through case studies of everyday items of food and drink. Students will be required to develop and present a brief research project; students registered for ANT 226 will be asked to do projects on food-related issues. Projects may make use of ethnographic and/or historical methods and/or primary research materials
BUILDING: LCHAS | ROOM: 103
PREREQUISITES: ANT 101 helpful
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CLT 414M
BERNARDI J
TR
14:00 - 15:15
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A focused study of Godzilla on film, beginning with the 1954 film that inspired and helped define the Japanese kaiju eiga genre. The larger context of the course is a critical investigation of genre film, specifically the science-fiction/horror/creature-feature film, and a careful consideration of the “culture of war” (World War II through 21st century). We begin with a sampling of seminal non-Japanese titles that provided the foundation for the Godzilla film paradigm, then focus on a close textual study of select “Godzilla films” that help us understand the historical and social contexts for Godzilla’s erratic trajectory since 1954. Recent DVD releases with both dubbed and original Japanese language versions enable us to dissect the culturally generated permutations of kaiju eiga.
BUILDING: LATT | ROOM: 431
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GER 452
HWANG J
TR
14:00 - 15:15
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The city in film and literature is never just a physical space - discourses of modernity and urban life are mapped onto real and imagines urban spaces. In this course we will explore how the relationship between the spaces of the city and the stories told about and through them shape our understanding of urban life.
BUILDING: HYLAN | ROOM: 306
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GER 481
HWANG J
TR
16:50 - 18:05
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This course will provide an overview of the diverse films that comprise contemporary German-language cinema from the 1960s to the present day. We will explore questions of race, class, gender and national identity in both fiction and non-fiction films. Directors include Harun Farocki, Magarethe von Trotta, Wim Wenders, Ruth Klüger, Michael Haneke and Christian Petzold. This course will be taught in English and all films will have English subtitles. No knowledge of the German language is required.
BUILDING: MEL | ROOM: 218
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HIS 471
JARVIS M
TR
10:25 - 11:40
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In this course, students will learn how to research historical sites, create digital versions of them, and then author curated or interactive "scenescapes" that impart historical knowledge in dynamic new ways. Using sites in Bermuda, Ghana, and locally, the course adopts a hands-on experimental approach to digital history by creating visualizations that use diverse documentary and visual sources and presenting the past to the public through new digital media.
BUILDING: RRLIB | ROOM: 445
|
| Wednesday |
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AH 533
LIU L
W
16:50 - 19:30
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This course explores the art and politics of transparency and metamorphosis as well as their relationship. Discussions will take various standpoints, from new materialisms, ecology, optics, rhetoric and literary criticism, visual culture, to architecture and the built environment. It aims to take into consideration the broader, physical and sociopolitical environments in which art objects come into being and transform the realities around them and beyond. While this course offers a set of thinking tools, it will also deal with some case studies of specific material objects, including a material history of glass, Chinese ceramics in the global circuits, poetics of the screen and the window. The goal of the course will lead us to confront both the obvious and the obscure in shaping discourses of artifacts and the reception of them.
BUILDING: MOREY | ROOM: 524
OFFERED: Fall
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AH 583
BURGES J
W
9:00 - 11:40
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The Colloquium introduces students in the Visual and Cultural Studies Program to aspects of the histories, theories, and methodologies of our field of study. We proceed in three ways: First, we read and discuss together a series of texts on and in visual and cultural studies. Second, various faculty members in the program conduct sessions in their areas of expertise based on readings that they select for us. And third, each student presents his or her own work to the colloquium. For this final part, it is important that students engage with visual and cultural studies models and provide relevant readings to other members of the colloquium.
BUILDING: MOREY | ROOM: 524
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ANT 506
FOSTER R
W
14:00 - 16:40
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The modern for-profit, investor-owned business corporation is one of the most consequential inventions of the last 150 years. This seminar reviews the surprisingly sparse anthropological work on the corporation and considers the prospects for an anthropology of corporations that is neither a broad discussion of global capitalism nor a narrow account of organizational behavior. Readings focus on the specific historical, legal, and structural features of the corporation. Topics for discussion include: the corporate form; corporate personhood; corporate branding and response to criticism; the ideology of shareholder value; shareholder activism and corporate social responsibility. Students will propose, develop and present a semester-long research project that focuses on one particular corporation. NOTE: Open to declared anthropology majors & minors who have taken ANT 101 and one 200-level core course; graduate students welcome by permission of instructor
BUILDING: LATT | ROOM: 441
PREREQUISITES: ANT 101 and 1 200-level elective declared majors/minors only
OFFERED: Fall
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MHS 590
KYKER J
W
10:35 - 12:25
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|
Acoustic Africa: Through film clips, audio examples, readings, and hands-on performance clinics, students in this course will take a journey in sound across Sub-Saharan Africa. We will explore the musical and social dimensions of a wide variety of genres and styles, ranging from pre-colonial instruments such as the mbira, kora, and balafon to 20th and 21st century urban popular music, such as the acoustic guitar music ubiquitous across the continent.
BUILDING: NSL | ROOM: 404
OFFERED: Fall Spring Summer
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MHS 590
FREITAS R
W
15:35 - 17:25
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19th Century Performance Practice: This seminar will explore the nature of performance and performance style in the nineteenth century, a new but burgeoning field of inquiry. We will investigate not only how musicians played and sang in different times and places, but also in what performance contexts. In addition to recently published studies, we will work with primary treatises (on various instruments and the voice) and increasingly available early recordings. This class will offer an opportunity not only for original research, but also for free experimentation with what can sometimes seem a remarkably foreign performance tradition. A final project, presented to the seminar, will be required.
BUILDING: NSL | ROOM: 404
OFFERED: Fall Spring Summer
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MUY 590
JAKELSKI L
W
12:35 - 15:25
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Music and the Cold War: Music was played for high stakes in the Cold War. Beginning in the late 1940s, the United States and the Soviet Union strove to prove their supremacy in contests of cultural prowess. The struggle between the two great powers of the Cold War likewise impacted cultural policy and musical life in the nations that lay within their competing spheres of influence. This course will examine the compositional trends, artistic debates, and musical institutions that arose in response to the era’s global political conflict.We will investigate musical life during the Cold War from several distinct geopolitical vantage points. We will examine primary sources, read recent scholarship, and discuss music that either provoked significant critical reactions or sheds light on the politicization of music in the mid-twentieth century. Our main task will be to think about how local concerns intersected with the Cold War’s broader issues.
BUILDING: NSL | ROOM: 404
OFFERED: Fall
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| Thursday |
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AH 519
SAAB J
R
14:00 - 16:40
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This upper-level course interrogates the cultural meaning of things in an increasingly digital age. Paying attention to objects in their native as well as virtual frameworks, we will look at a variety of media ( film, photography, fine art, popular culture) in material and on-line contexts to investigate paradigm shifts in 21st century scholarship, archiving, and understanding of material culture.
BUILDING: MOREY | ROOM: 524
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AH 532
HAIDU R
R
9:40 - 12:20
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In this seminar, we examine modes and constraints of thinking subjectivity and form together. The question of who makes work and for whom connects to issues of how form (in artworks and films as well as the occasional literary text) denatures identity. Among the authors we read are Julia Bryan-Wilson and Eve Meltzer in art history as well as Hortense Spillers, Denise Ferreira da Silva, and Ann Laura Stoler. We examine the methodological tensions that evolve from the consideration of “imperial durabilities” as well as apparently new “types” of objects, authors, and audiences. This course is open to graduate students only.
BUILDING: MOREY | ROOM: 524
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ENG 539
TAWIL E
R
11:05 - 13:45
|
|
See department website for description
BUILDING: MOREY | ROOM: 403
OFFERED: Fall Spring Summer
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HIS 404
JARVIS M
R
14:00 - 16:40
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This course surveys recent scholarship on the early modern Atlantic world emphasizing comparative, transnational and connective methodologies. Topics will include imperial rivalries, the emergence of creole cultures, trade and smuggling, oceanic and coastal environments, the circulations of commodities, diseases, print, and ideas, slavery and the slave trade, community studies of Atlantic places, and the promise and limits of an Atlantic perspective. Students will produce an original research paper on an Atlantic topic.
BUILDING: RRLIB | ROOM: 362
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MHS 590
THYM J
R
9:35 - 11:25
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"Beethoven and After Beethoven." Study of Beethoven's symphonies and related works from an analytical and contextual angle. The first half of the seminar will focus on Beethoven's pathbreaking Eroica of 1804, in which he transferred his "new way" of composing to a large-scale orchestral work. The Eroica as well as other symphonies from his so-called "Heroic Phase", set the course of the genre for the remainder of the nineteenth century. Nothing written later escaped the gravitational force of Beethoven's compositions: The symphony after 1800 increasingly turned away from being close to chamber music and became a public genre, counting on and addressing large audiences. The second half of the seminar will focus on symphonies (and symphonic poems) after Beethoven, sampling from the repertory of Schubert, Berlioz, Mendelssohn, Schumann, Brahms, Bruckner, Tchaikovsky, Mahler and Strauss.
BUILDING: NSL | ROOM: 404
OFFERED: Fall Spring Summer
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| Friday |
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MUY 590
DESAI-STEPHEN
F
9:35 - 12:25
|
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Music, Value, and Labor: This course analyzes issues of production, exchange, and value in relation to musical sound and practice. How does music participate in colonial, capitalist, and neoliberal economic formations? Can we articulate value in relation to music in ways that both acknowledge and exceed materialist-economic terms? What forms of labor undergird the production and circulation of music as commodity form and affective experience? In order to consider such questions, we will read foundational cultural Marxist theorists (including Marx, Gramsci, Hall, Bourdieu, and more) and trace how these ideas and approaches have informed musical scholarship across popular music studies, ethnomusicology, and musicology. Together, we will work to articulate a political economic approach to the study of music.
BUILDING: NSL | ROOM: 404
OFFERED: Fall
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